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PRACTICAL-1

AIM:- Introduction of Multimedia & study the Multimedia tools.

Theory:-

What is MULTIMEDIA?
Almost everybody by now has heard the word multimedia. Everybody reads about it, talks
about it and wants it? But what is it? When looking for a multimedia computer, most ads indicate that
if you have a CD-ROM drive and sound capabilities you now have a multimedia computer.
Unfortunately this definition of multimedia only misleads people. Multimedia has a very simple
definition. It involves any combination of two or more of the following elements: text, image, sound,
speech, video, and computer programs. These mediums are digitally controlled by a computer(s). In
order to get an idea across, one can use multimedia to convey their message. Multimedia enhances
the information for better communication and understanding.

The combination of sounds and speech are used on the radio, newspapers use a combination
of text and images, television combines all these elements (except computer programs) and uses it to
relay a message to the viewer. For years the concept of multimedia has existed but the word
'multimedia' did not. How the viewer interprets this data depends on how he or she perceives the
information. Television doesn't allow users to assess the information at their own speed. The message
is transmitted one-way via cables or radiowaves to their television sets. The user doesn't have the
option to interact with this type of multimedia presentation.

Today multimedia is used for advertising, entertainment, public information, training and
education. Educational computer programs which use multimedia and the interaction of the student
allows the student to see their mistakes immediately and guide them to learn a concept more quickly.
The student can also move at their own speed, by reviewing or skipping material that they are
unfamiliar or familiar with.

The applications of multimedia are constantly growing. They are becoming more domestic
and millions of people are going to be affected in the way they communicate with one another.

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Framework of Multimedia:-

Multimedia Information System

The purpose is to extend the processing storage & retrival capabilities of insisting information
system by introducing new data types including images, audio & video. The Info. Model &
Distributed Processing Model are two components of MMIS.

MMIM (Multimedia Info. Model):- It includes data modeling for storage retrival &
processing.

MMDPM (Multimedia Distributed Processing Model):- It includes system services,

application tool kit & application framework.

Multimedia Communication System

Its purpose is to extend existing point to point connectivity by permitting synchronize multi
point group communication. The Conferencing Model & Service Network Model are two components
of MMCS.

MMCM(Multimedia Conferencing Model):- It provides abstractions for multi party

communication, real time interchange, Email & Telephony.

MMSNM (Multimedia Service Network Model):- It supports the comm. model with a N/W
architecture, N/W protocols & interphases.

Multimedia Authoring Tools

Authoring tools offers two basic features-

1. The ability to create & edit a product.

2. Presentation scheme for delivering the product.

Catagories of authoring tools:-

1. Simple authoring & delivery tools:

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a) Word Processor It is the most basic tool at the basic level. They provide the ability to
display text in a variety of cone type, sizes & colors, graphics, edit for sound & video can be
appended to the text.

b) Graphics Software It includes powerful paint program are useful for creating graphics that
can be placed in other application but are very limited for more complex MM representation.

c) Presentation Packages They provide a multiple page medium for text & graphics with
contents delivered as a sequential series of slide.

2. Programming Languages for authoring:

Computer Programming Language such as assembly language, C language & all other PL
present in it.

a) AssemblyLanguage It yield the most efficient executable code but the code is complex.
Assembly Language products are often used for high performance & special purpose function.

b) Third Generation Tools Such as C & pascal provides a higher level of coding & abstraction
than assembly language. However, MM products tend to be graphics & presentation intensive making
interface programming difficult.

c) Fourth Generation Tools These tools have been graphical user programming tool, fourth
generation languages are programming environment combined with advanced tools to develop user
interface & S/W codes.

Simple Interactive authoring tools:

These are used for limiting interaction for the end user. It is capable of presenting of text,
graphics, audio & video in very integrated & easier way.

Complex Interactive autthoring tools:

These tools are combined with simple interactive tool with programming feature. Program is
used to incooperate instruction into an application & program is accomplish by attaching code to
objects such as buttons, graphics or other elements.

 Card or Page Based Tools.

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 Item Based or Event driven Tools.
 Time Based & Presentation Tools.

PRACTICAL-2

AIM:- Introduction of Powerpoint.

Theory:-

Finding the toolbars

The toolbars contain graphically illustrated buttons that you click to perform specific tasks in a
program. PowerPoint 97 has four main toolbars, which can help you create your presentations
quickly and easily.

The Standard Toolbar is located at the top of the PowerPoint window, below the menu bar. It has
buttons for common tasks such as saving, printing, checking spelling, and inserting charts and tables.

The Formatting Toolbar is located just below the standard toolbar. Most of its buttons are for
formatting text. Use these buttons to change the font type or size, make text bold or italic, indent text,
and insert bullets.

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The Drawing Toolbar is located at the bottom of the PowerPoint window. It has tools for drawing
shapes, adding lines and curves, and inserting text boxes and WordArt. It also has buttons for
manipulating and formatting the objects you draw.

The Common Tasks toolbar is initially a floating toolbar. That is, it isn't anchored to an edge of the
PowerPoint window. Use this toolbar to create a new slide, change the layout of a slide, or apply a
design.

Moving the toolbars to new locations

All PowerPoint toolbars can be moved or docked to any side of the PowerPoint window. As well,
docked toolbars, including the Standard Toolbar, the Formatting Toolbar, and the Drawing Toolbar,
can be converted to floating toolbars.

A move handle on the left or top of the toolbar indicates that the toolbar is docked. A title bar
indicates that the toolbar is floating.

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Here's how to move one of the toolbars to a new location:

1. Click the move handle on a docked toolbar, or click the title bar on a floating toolbar.

2. Holding down the mouse button, drag the toolbar to the new location.

Docking a toolbar
Try docking the Common Tasks toolbar to the top of the PowerPoint window. This will give you
more working area on your PowerPoint window.

1. Click the title bar on the Common Tasks toolbar.

2. Drag the toolbar upwards, until the toolbar outline snaps into place along the edge of the
program window.

If you see move handles on the toolbar, you know it is successfully docked.

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The Office Assistant

Activating and using the Office Assistant:

The Office Assistant is an animated help system that answers your questions, and offers tips and
helpful suggestions as you work. The standard Office Assistant character is Mr. Clipit, an animated
paperclip, but you can change the Office Assistant's character at any time.

To activate the Office Assistant, click the Office Assistant button on the Standard Toolbar.

Or click the Help menu, then click Microsoft PowerPoint Help.

The Office Assistant appears, ready to assist you.

Once the Office Assistant is activated, it "observes" your work and offers tips or suggestions. A
yellow bulb above the Office Assistant indicates that it has a tip. To see the tip, click the bulb.

You can ask the Office Assistant to help you perform tasks in PowerPoint. Let's say you want to find
out how to insert a graphic. Here's what you do:

1. Click the Office Assistant. A callout appears, asking you what you want to do.

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2. Type in your request. For example, type "insert a graphic". A list of related help topics will
appear.

3. Select a help topic from the list. (Click See More for more options.) The help topic is
displayed.

Terminology

Here are some terms in PowerPoint 97 that are useful to know.

• Slide: An individual screen in a slide show.

• Presentation File: The file you save to disk that contains all the slides, speaker's notes,
handouts, etc. that make up your presentation.
• Object: Any element that appears on a PowerPoint slide, such as clip art, text, drawings,
charts, sounds, and video clips. You can refer to a clip art object, a text object, a title object, a
drawing object, etc.

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• Slide Show: A series of slides displayed in sequence. A slide show can be controlled
manually or automatically.
• Transition: A special effect used to introduce a slide during a slide show. For example, you
can fade in from black, or dissolve from one slide to another.

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PRACTICAL-3

AIM:- Introduction of Photoshop.

Theory:-

Tools and Options Panel

Open your PhotoShop. If you don't see Tools Toolbar already then go to Window > Tools.

Below is the screenshot of the Tools. If the tool has a small trianlge at the bottom corner it means it
has more than one options. To see these options just click and hold on the tool for few seconds, and
you will see the options on the popup window as shown below.

Options Panel

As you see below from the screenshot, Options Panel is highlighted with red. Whenever you switch
from one tool to another Options Panel will be changed accordingly. Currently Brush Tool is
selected, and in the Options Panel all the properties of the Brush Tool is displayed, such as: Brush
Size (Type), Mode, Opacity and Flow.

Just remember to look up to the Options Panel when you choose a particular tool, because sometimes
if something is selected or unselected in the Options Panel, you might not use the particular tool
properly.

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Let's go through one tool from each group and their functions. Letter inside the brackets will select
the particular tool when you press.

Move Tool (V): Is used to select and move images (objects) on any active layer.
Rectangular Marquee Tool (M): It is used for making selection on the image
(objects) on any active layer.
Magic Wand Tool (W): Used for making selection (similar colors at once for
example)
Polygonal Lasso Tool (L): Used for making free selection as you go
Slice Select Tool (K): Used for selecting slices
Crop Tool (C): Used for cropping images
Patch Tool (J): Used for correcting images
Brush Tool (B): Used for drawing freehand
History Brush Tool (Y): Used for restoring specified history state
Clone Stamp Tool (S): Used for selecting a source and copying (drawing) it in
another place
Gradient Tool (G): Used for making gradient effect on images
Eraser Tool (E): You are right, this tool is used for erasing ;)
Dodge Tool (O): Used for making images lighter (And Burn tool makes the
opposite – darker)
Horizontal Type Tool (T): Yes used for inserting text to image
Path Selection Tool (A): Used for selecting the active path
Custom Shape Tool (U): Used to insert pre-specified (ready) shapes to image
Pen Tool (P): Used for creating vector shapes
Eyedropper Tool (I): Used for selecting color
Notes Tool (N): Used for inserting notes on the image
Zoom Tool (Z): Yes used for zooming in or out
Hand Tool (H): Used for dragging image when you are in the zoom in state

Working with Layers

Photoshop uses Layers for managing multiple (separate) objects in one window, to open your Layers
panel go to Window > Layers. If you have used other image editing tools that use layers this
should be familiar to you. But if you have not, just think of the Layers as Stack of books, and
imagine yourself as looking at this stack of books from top. For example you can see the cover of the
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first book on top of the stack without a problem, however the cover of the books that are below
cannot be seen that well, depending on how you have placed the books.

As you see from the image below, the Blue Circle is on Layer 2 (top) background being the Layer 0
(bottom) and Red Rectangle is on Layer 1 (middle). As I have said, layer that is on top (here it is -
Layer 2) will cover the layers below (which is Layer 1 and Layer 0). Thus you see the Circle
covering Rectangle. And our background is a white color which is visible from the sides of the circle
and rectangle.

Here I have moved Red Rectangle to Top, as you see now Red Rectangle is the one covering Circle.
To move the particular layer just click on it with your mouse and while still holding move it up or
down.

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Active Layer: Active layer is the layer which you are working on, for example from the image above
we can see that Active Layer is the Red Rectangle (Layer 2) - how do we know it, because it is
highlighted (selected).

And if you want to move particular object you should select it's respective layer first, then only you
can move it. Otherwise you will end up moving something else. The "Eye" icon on the left of the
layers means they are currently visible, if you toggle them off then the object will dissappear (will
become invisible) as shown below:

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PRACTICAL-4

AIM:- Using adobe deluxe photoshop edit a digital photo by changing the background color,&
changing the part of photo, creating the different parts of photo and edit them

Theory:- With its comprehensive set of retouching, painting, drawing, and web tools, photoshop
helps you complete any image-editing task efficiency

Choosing foreground and background colors:

Photoshop uses the foreground color to paint, fill, and stroke selections and background color
to make gradients fill and fill in erased area of an image. The foreground and background colors are
also used by some special effects filters. You can designate a new foreground and background color
using the eyedropper tool, the color palette, swatches palette , or adobe color picker. The default
foreground color is black, and default background color is white.

Using the color palette:

The color palette displays the color values for the current foreground and background colors.
Using the sliders in the color palette, you can edit the foreground and background colors according to
several different color models. You can choose a foreground and background colors from the
spectrum of colors displayed in the color ramp at the bottom of the palette.

To display the color palette:

Choose window> color, or click the color palette tab.

To change the color model of the color sliders:

Choose a slider option from the color palette menu. For more information on the different
color models:
1. To select the foreground and background color: to edit the foreground and background color,
make sure that its color selection box is active(outlined in black). To make the foreground or
background color selection box active, click the box.
2. Do one of the following :

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• Drag the color sliders. By default, the slider colors change as u drag. In
photoshop, you can turn off this feature to improve performance by deselecting Dynamic
Color Sliders in the General section of the preferences dialog box. Using the eyedropper tool.
Enter values next to the color sliders.
• Click the color selection box, choose a color using the color picker, and click
OK
• Position the pointer over the color ramp(the pointer becomes the eyedropper),
and click to sample a color. Alt-click to apply the sample to the non-active color selection
box.

The eyedropper tool:

The eyedropper tool samples color to designate a new foreground or background color. You
can sample from the active image or from elsewhere on the screen.

You can also specify the area sampled by the eyedropper tool. For example, you can set the
eyedropper to sample the color values of a 3-by-3-pixel area under the pointer. Modify the
sample size of the eyedropper affect the color readouts displayed in the info palette.

To select the foreground or background color:

1. Select the eyedropper tool.
2. To change the sample size of eyedropper,choose an option from the sample size
menu
• Point sample to read the precise value of the pixel you click. 3 by 3
Average or 5 by 5 Average to read the average value of the specified number of pixels within
the area you click.

Do one of the following:

• To select a new foreground color, click in the image. Alternatively,
position the pointer over the image, press the mouse button, drag anywhere on the screen. The
foreground color selection box changes dynamically as you drag . release the mouse button to
pick the new color.

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• To select a new background color, Alt-click(Windows) or Option-
click(Mac OS) in the image. Alternatively, position the pointer over the image, press the
Alt(Windows) or Options(Mac OS), press the mouse button, and drag anywhere on the
screen. The background color selection box color selection box changes dynamically as you
drag. Release the mouse button to pick the new color.
Cropping is the process of removing portions of an image to create focus or strengthen the
composition. You can crop an image using the crop tool and crop command. You can also trim pixels
using the trim command.

To crop an image using the crop tool:

1. Select the crop tool.

2. Set the mode of the crop tool:
• (Photoshop) To crop the image without resampling (default), make sure that all the
text boxes in the options bar are empty. You can click the clear button to quickly clear all the
boxes.
• (Photoshop) To resample the image during cropping, enter a heught, width, and/or
resolution in the options bar.
• (ImageReady) To crop the image without resampling, make sure that Fixed size is
deselected in the options bar.
• (ImageReady) To resample the image during cropping, selected fixed size, and
enter a height and width in the options bar.
• To resample an image based on the dimensions and resolution of another image,
open the other image, select the crop tool, and click Front Image in the options bar. ( In
ImageReady, you must select the Fixed Size option to acess the front image button.) Then
make the image you want to crop active.
3. Define the cropping marquee by dragging over the part of the image you want to keep.
The marquee doesn’t have to be precise—you can adjust it later.
4. Do the following in the options bar:
• Specify whether you want to hide or delete the cropped area. Select hide to
preserve the cropped area in the image file. You can make the hidden area visible by moving
the image with the move tool. Select Delete to discard the cropped area.

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• Specify whether you want to use a cropping shield to shade the area of the
image that will be deleted or hidden. when shield is selected , you can specify a color and
opacity for the cropping shield. When shield is deselected, the area outside the cropping
marquee is revealed.
5. If necessary, adjust the cropping marquee:
• To move the marquee to another position, place the pointer inside the
bounding box and drag.
• To scale the marquee, drag a handle. To constrain the proportion, hold
down shift as you drag a corner handle.
• To rotate the marquee, position the pointer outside the bounding box( the
pointer turns into a curved arrow), and drag. To move the center point around which the
marquee rotates , drag the circle at the center of the bounding box.
6. Do one of the following:
• Press Enter(windows) or Return(Mac OS); click the commit button in
the option bar; or double-click inside the cropping marquee.
• To cancel the cropping operation, press Esc or click the cancel button in
the operation bar.

To crop an image using the crop command:

1. Select the part of the image you want to keep.

2. Choose Image>crop.
• Top Left Pixel Color to remove an area of the upper left pixel from the
image.
• Bottom Right Pixel Color to remove an area of the lower right pixel from
the image.
Select one or more areas of the image to trim away: Top, Bottom, Left or Right

To crop an image using the trim command:

1. Choose image>trim.
2. In the trim dialog box, select an option:

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• Transparent pixel to trim away transparency at the edges of the image,
leaving the smallest image containing non-transparent pixels.
• Top Left Pixel Color to remove an area the color of the upper left pixel
from the image.
• Bottom Right Pixel color to remove an area the color of the lower right
pixel from the image.
3. Select one or more areas of the image to trim away: Top, Bottom, Left or Right.

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PRACTICAL-5

AIM:- Introduction to Flash 5.

Theory:-

Welcome to the Flash 5 tutorial section. In this tutorial, we will cover all the basics of Flash and a
few advanced features it has to offer. First thing you need is the software. You can download a demo
of the software at the Macromedia site, click here. If you have the software and have not installed it
yet, click here to go to the Installation tutorial.

What is Flash?
Flash is a vector graphic based application. It is used worldwide to produce movies,
animation, presentations and more. You can use it to create presentations for your company, equipped
with an up to date database to show the right information at the right time to creating a button for
your web site. An example would be a Stock Ticker. Flash is very easy to use and a very effective
tool in the web development industry. One advantage to Flash is it is a cross-browser platform, which
means you can show your movies in any browser out there, such as Internet Explorer or Netscape
Navigator.

Work environment:
Flash is a little like the program Paint for Windows. Although it is used mainly for animation,
if you have ever used Paint, creating graphics and artwork in Flash is the same way. You have all the
same tools that Paint uses, such as the square/rectangle tool, the circle tool and the line tool. The
work environment in Flash consists of four major parts:

1-The Stage
The stage is the area in which you will be working. The stage is basically your drawing board, where
you can create, add and delete your work. The stage(s) are the only areas in which you can put in
graphics, and while your movie is in play on a web site, and only the content in the stage will be
displayed. You can also use special features and import your graphics from other programs.

2-Timeline
The timeline is the area that represents moving objects in your stage. The timeline is consisted of
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frames and layers. Each frame is a brand new image. Using simple tweening motions will allow you
to modify your objects in your timeline to produce a quick movie. Layers represent each layer of
transparency on your stage, you can have as many layers as you want and you can only see objects on
the layers.

3-Library
The library is just a small database where Flash stores all your graphics and symbols. From the
library, you can click and drag symbols onto your stage area, which saves you a lot of time, instead of
re-creating new graphics.

4-Panels
The panels used in Flash 5 allow you to control anything you do, such as modifying your text, of
setting effects for a symbol. The advantage about the panels is that they can be hidden allowing you
more work space to work on. Go to Window > Panels for a complete list of your panels.

Flash 5, now allows you to import MP3 sound files. This new feature allows you to play music, add
sound effects to your buttons, etc. This new feature is only useful using supported sound files, such as
.mp3 and .wav.

Symbols
In Flash, a symbol represents a movie clip, button or graphic that you have created. Symbols
make it easier to use the same object over and over again without having to re-create it, which is a
waste of time. In this section, we will learn how to create, modify and remove symbols you have
created. We will also learn how to add effects to these symbols, enhancing your movie.

Converting to symbols:
In the stage area, draw a graphic of your choice, using any tool and colors of your choice.
Once you have a new shape on your stage, select it. Your drawing is now selected, from the menu, go
to "Insert> Convert to Symbols". A window will appear in the middle of your screen called "Symbol
Properties". Choose the graphic option, then name your symbol "my drawing". (Shown in figure 1.9)

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(Figure 1.9)
Click OK and you will be taken back to your stage. Select your drawing by clicking it once now, and
you should notice a line surrounding it.

Library:
Flash takes it upon itself to add all your graphics and buttons to a small database called the Library.
This is where flash allows you to view, edit and remove items you have created. To view the Library,
hit CTRL+L.

Resizing and Rotating:

Using the shape you have converted into a symbol, select it, and click on the resize button, and

resize it to any size you want. Select your symbol again, and this time click on the rotate button,
and rotate your symbol by dragging it in a circular motion using the little white circles surrounding it.
When you are done, deselect your symbol.
(Shown in figures 2.2 and 2.3)

(figure 2.2 and 2.3) Resizing and Rotating symbols

Adding effects:
Select your symbol, and from the menu, go to "Window> Panels> Effects". You can set any effect
you want to your drawing, in this sample, I used my light yellow happy face and turned into a light
blue happy face using the Advanced Effects. You can play around with these options by selecting one

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of the options in the pull down menu, until you get the result you want.

(Figure 2.4)
Editing, Renaming and Deleting symbols:
Select your symbol on your stage, and hit DELETE. Your graphics is now gone from the stage, but
not from the library. In the library, choose your symbol, and now slide it onto the stage area. Now
you have your drawing back where it used to be. To rename, edit, delete or duplicate, you must right
click on your symbol in the library, and select one of the above. Click on Edit, and you will be taken
to a new stage, where you will be able to edit your drawing, and once you are done, go back to Scene

1 by clicking on the "Scene 1" button above your timeline. Now rename your
symbol to My First Drawing. If you are getting tired of your little drawing, now's the time to get rid
of it, right click on it in the Library, and select DELETE. An alert window will show up, and you
must click YES to completely delete it. Now you are left with a blank movie clip, perfect for the next
lesson.

This concluded the Symbols section, please proceed to the Layers section.

Saving Flash Files

To save your work, you simply have to save and export it. To save your movie, go to 'File> Save as'
and save it as what you want to. To Export your movie, so you can use it on your web page, go to
'File> Export Movie' and save your movie as what you want. Normal Flash movies are saved as .swf
format.
Publishing your movie can be done in different way. You can publish an HTML document, have your
.swf file and some other files such as gifs, jpgs, or bmps. To set up your publish settings, go to 'File>
Publish Settings', select the types of publishing you want, then select OK. To publish the movie, go to
'File> Publish' or hit F12 on your keyboard. That's it, you can now use your movie on the web.

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PRACTICAL-6

AIM:- Animate a ball by changing its color, size, shape & position using frame to frame and tweened
animation in Flash.

Theory:-

Flash is the industry standard for interactive vector graphics & animations for web. You
create animation by changing the content of successive frames. You can make an object move across
the stage, increase or decrease its size, rotate, change color, fade in or out, or change shape. Changes
can occur independently of, or in concert with, other changes. For example, you can make an object
rotate and fade in as it moves across the Stage.

There are two methods for creating an animation sequence in Flash:

Frame-by –frame animation: In frame-by –frame animation you create the image in every frame. In
frame-by –frame animation, Flash stores the values for each complete frame.

Tweened animation: In tweened animation you create starting and ending frames and let flash create
the frames in between. Flash varies the object’s size, rotation, color, or other attributes evenly
between the starting and ending frames to create the appearance of movement. Tweened animation is
an effective way to create the movement and changes over time while minimizing file size. In
Tweened animation, flash stores only the values for the changes between frames.

A key frame is a frame where you define changes in the animation. When you create frame-by –
frame animation, every frame is a key frame. In tweened animation, you define key frames at
important points in the animation and let flash create the content of frames in between.

Creating Frame-by–frame animations

Frame-by –frame animation changes the contents of the Stage in every frame and is best suited to
complex animation in which an image changes in every frame instead of simply moving. Frame-by –
frame animation increases file size more rapidly than tweened animation.

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To create Frame-by –frame animation

1. Click a layer name to make it the current layer, and select a frame in the layer where you want
the animation to start.
2. If the frame isn’t already a key frame, choose Insert > key frame to make it one.
3. Create the image for the first frame of the sequence. You can use the drawing tools, paste
graphics from the Clipboard, or import a file.
4. Click the next frame to the right in the same row and choose insert > Key frame, or right click
(Windows) or Control-click (Macintosh) and choose Insert Keyframre from the Frame pop-up-
menu.
5. After the contents of this frame on the stage to develop next increment of the animation.
6. To complete your Frame-by –frame animation sequence, repeat steps 4and 5 until you have
built the motion you want.
7. To test the animation sequence, Control > play or click the play button on the controller.

Creating Tweened animation

You can create a motion tween using one of two methods:

 Create the starting and ending keyframes for the animation and use the motion Tweening
option in the Frame Properties panel.
 Create the first keyframe for the animation, and then choose Insert > Create motion Tween
and move the object to the new location on the Stage. Flash automatically creates the ending
Keyframe

Flash cannot tween the shape of groups, symbols, text blocks, or bitmap images. Use Modify > Break
Apart to apply shape tweening to these elements.

To control more complex or improbable shape changes, use shape hints, which control how parts if
the original shape move into the new shape.

To tween a shape:
1. Click a layer name to make the current layer and select an empty key frame where you want
the animation start.

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2. Create the image for the first frame of the sequence.
Use any of the drawing tools to create the shape.

3. Create a second keyframe the desired number of frames after the first frame.

4. Create the image for the last frame of the sequence. (You can tween the shape, color, or
position image created in step 2)

5. Choose Window > Panels > Frame.

6. For Tweening, select Shape.

7. Click and drag the arrow next to the Easing value or enter a value to adjust the rate of change
between tween frames:
 To begin the shape tween gradually and accelerate the tween towards the end of the
animation, drag the slider down or enter a value between -1 and -100
 To begin the shape tween rapidly and decelerate the tween towards the ends of the
animation, drag the slider up or enter a positive value between 1 and 100.
 By default, the rate of change between tweened frames is constant. Easing creates a
more natural appearance of transformation by gradually adjusting the rate of change.

8. To rotate the selected item while Tweening, choose an option from the Rotate menu:
 Choose none (the default setting) to apply no rotation.
 Choose Auto to rotate the object once in the direction requiring the least motion.
 Choose Clockwise (CW) or Counterclockwise (CCW) to rotate the object as indicated,
and then enter a number to specify the number of rotations.

9. If you are using a motion path, select Orient to Path to orient the baseline of the tweened
element to the motion path.

10. Select Synchronization to ensure that the instance loops properly in the main movie.

11. If you are using a motion path, select snap to attach the tweened element to the motion path
by its registration point.

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PRACTICAL-7

AIM:- Transform an alphabetical string into circle and then change it again into alphabetical string.

Theory:-

By tweening shapes, you can create an effect similar to morphing, making one shape appear to
change into another shape over time. Flash can also tween the location, size and colour of the shapes.
Tweening one shape at a time usually yields the best results. If you tween multiple shapes at one
time, all the shapes must be on the same layer. Flash cannot tween the shape of groups, symbols, text
blocks, or bitmap images. Use Modify > Break Apart to apply shape tweening to these elements. See
Breaking apart groups and objects.

To Break apart groups and objects:

1. Select a group, text block, bitmap, or symbol that you want to break apart.
2. Choose Modify > Break Apart.

To tween a shape:

1. Click a layer name to make it the current layer and select an empty keyframe where you want
the animation to start.
2. Create the image for the first frame of the sequence.

Use any of the drawing tools to create a shape.

3. Create a second keyframe the desired number of frames after the first frame.
4. Create the image for the last frame of the sequence (You can tween the shape, colour or
position of the image created in step 2).
5. Choose Window > Panels > Frame.
6. For Tweening, select Shape.
7. Click and drag the arrow next to the Easing value or enter a value to adjust the rate of change
between tweened frames:
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* To begin the shape tween gradually and accelerate the tween toward the end of the animation,
drag the slider down or enter a value between -1 and -100.

* To begin the shape tween rapidly and decelerate the tween toward the end of the animation,
drag the slider up or enter a positive value between 1 and 100.

By default, the rate of change between tweened frames is constant. Easing creates a more
natural appearance of transformation by gradually adjusting the rate of change.

8. Choose an option for blend:

* Distributive creates an animation in which the intermediate shapes are smoother and more
irregular.

* Angular creates an animation that preserves apparent corners and straight lines in the
intermediate shapes.

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PRACTICAL-8

AIM:- Create bouncing ball using motion guide and include sound to this.

Theory:-

Motion guide layer let you draw guide (path) along which objects move.

1. In a new file, draw a bouncing ball. This will become the path our ball will follow.

2. Select Modify Layer from the menu. Name the layer path, lock it and change its type to
Guide.

3. Insert a new layer by clicking the Insert Layer button at the bottom left of the timeline or by
selecting Insert Layer. Name this new layer ball.

4. Most likely the inserted ball layer will appear above the layer path. We are going to make this
new layer guided. A guided layer has two requirements: It must be directly below the layer
guiding it, and its layer properties type must be set to guided.

5. We can change the layer stacking by dragging layers around. Go ahead & drag the ball layer
down. A dashed line appears between the two layers.

6. Now we are going to create the animation. Into frame1 of ball layer, draw a circle and make it
a symbol. Now in the ball layer, click in layer 50 and insert a keyframe. In the path layer,
click in frame 50 and insert a frame. Go back to frame1 of the ball layer and create motion
tween.

7. One final step will make the ball actually follow the path. Go to frame1 of ball layer, grab the
center of picture of ball and snap it to the beginning of the path drawn in the path layer. Go to

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frame 50 and snap the center of the picture of ball instance to the end of the path drawn in
path layer.

8. Now select File, Import and then select an audio file to import.

9. After selecting an audio file and clicking OK in the Import Dialog Box, you won’t see
probably anything different. However, the sound has been imported and now resides in the
library. Just open the library window(Ctrl+L) to see it.

10. Move to first keyframe of ball layer and right click. Select Panels, Sound. Select the sound
you have imported.

11. You can select stream or event sync from the options, sound will be included. Test the movie
by playing it.

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PRACTICAL-9

AIM:- To study the client server architecture.

Theory:-

Client-server
Client-server computing or networking is a distributed application architecture that partitions
tasks or work loads between service providers (servers) and service requesters, called clients. Often
clients and servers operate over a computer network on separate hardware. A server machine is a
high-performance host that is running one or more server programs which share its resources with
clients. A client does not share any of its resources, but requests a server's content or service function.
Clients therefore initiate communication sessions with servers which await (listen to) incoming
requests.

Description
Client-server describes the relationship between two computer programs in which one
program, the client program, makes a service request to another, the server program. Standard
networked functions such as email exchange, web access and database access, are based on the client-
server model. For example, a web browser is a client program at the user computer that may access
information at any web server in the world. To check your bank account from your computer, a web
browser client program in your computer forwards your request to a web server program at the bank.
That program may in turn forward the request to its own database client program that sends a request
to a database server at another bank computer to retrieve your account balance. The balance is
returned to the bank database client, which in turn serves it back to the web browser client in your
personal computer, which displays the information for you.

The client-server model has become one of the central ideas of network computing. Many
business applications being written today use the client-server model. So do the Internet's main
application protocols, such as HTTP, SMTP, Telnet, DNS. In marketing, the term has been used to
distinguish distributed computing by smaller dispersed computers from the "monolithic" centralized
computing of mainframe computers. But this distinction has largely disappeared as mainframes and
their applications have also turned to the client-server model and become part of network computing.

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Each instance of the client software can send data requests to one or more connected servers.
In turn, the servers can accept these requests, process them, and return the requested information to
the client. Although this concept can be applied for a variety of reasons to many different kinds of
applications, the architecture remains fundamentally the same.

The most basic type of client-server architecture employs only two types of hosts: clients and
servers. This type of architecture is sometimes referred to as two-tier. It allows devices to share files
and resources. The two tier architecture means that the client acts as one tier and application in
combination with server acts as another tier.

The interaction between client and server is often described using sequence diagrams.
Sequence diagrams are standardized in the Unified Modeling Language.

Specific types of clients include web browsers, email clients, and online chat clients.

Specific types of servers include web servers, ftp servers, application servers, database
servers, name servers, mail servers, file servers, print servers, and terminal servers. Most web
services are also types of servers.

Advantages:-

* In most cases, a client-server architecture enables the roles and responsibilities of a computing
system to be distributed among several independent computers that are known to each other
only through a network. This creates an additional advantage to this architecture: greater ease
of maintenance. For example, it is possible to replace, repair, upgrade, or even relocate a
server while its clients remain both unaware and unaffected by that change.
* All data is stored on the servers, which generally have far greater security controls than most
clients.[citation needed] Servers can better control access and resources, to guarantee that
only those clients with the appropriate permissions may access and change data.
* Since data storage is centralized, updates to that data are far easier to administer than what
would be possible under a P2P paradigm. Under a P2P architecture, data updates may need to
be distributed and applied to each peer in the network, which is both time-consuming and
error-prone,[citation needed] as there can be thousands or even millions of peers.

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* Many mature client-server technologies are already available which were designed to ensure
security, friendliness of the user interface, and ease of use.[citation needed]
* It functions with multiple different clients of different capabilities.

Disadvantages:-

* Traffic congestion on the network has been an issue since the inception of the client-server
paradigm.[citation needed] As the number of simultaneous client requests to a given server
increases, the server can become overloaded. Contrast that to a P2P network, where its
aggregated bandwidth actually increases as nodes are added, since the P2P network's overall
bandwidth can be roughly computed as the sum of the bandwidths of every node in that
network.
* The client-server paradigm lacks the robustness of a good P2P network.[citation needed]
Under client-server, should a critical server fail, clients’ requests cannot be fulfilled. In P2P
networks, resources are usually distributed among many nodes. Even if one or more nodes
depart and abandon a downloading file, for example, the remaining nodes should still have the
data needed to complete the download.

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PRACTICAL-10

AIM:- Telnet & Ftp.

Theory:- Introduction

The functions in this extension implement client access to file servers speaking the File
Transfer Protocol (FTP) as defined in http://www.faqs.org/rfcs/rfc959. This extension is meant for
detailed access to an FTP server providing a wide range of control to the executing script. If you only
wish to read from or write to a file on an FTP server, consider using the ftp:// wrapper with the
filesystem functions which provide a simpler and more intuitive interface.

Requirements

No external libraries are needed to build this extension.

Installation

In order to use FTP functions with your PHP configuration, you should add the --enable-ftp
option when installing PHP 4 or greater or --with-ftp when using PHP 3.

Runtime Configuration

This extension has no configuration directives defined in php.ini.

Resource Types

This extension uses one resource type, which is the link identifier of the FTP connection, returned by
ftp_connect() or ftp_ssl_connect().

Predefined Constants

The constants below are defined by this extension, and will only be available when the extension has
either been compiled into PHP or dynamically loaded at runtime.

FTP_ASCII (integer)
FTP_TEXT (integer)
FTP_BINARY (integer)
FTP_IMAGE (integer)

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FTP_TIMEOUT_SEC (integer)

The following constants were introduced in PHP 4.3.0.

FTP_AUTORESUME (integer)

Automatically determine resume position and start position for GET and PUT requests (only
works if FTP_AUTOSEEK is enabled)

FTP_FAILED (integer)

Asynchronous transfer has failed

FTP_FINISHED (integer)

Asynchronous transfer has finished

FTP_MOREDATA (integer)

Asynchronous transfer is still activ

Telnet using Linux

This has to be one of the more common support calls that I get. The telnet daemon is no longer
usually installed by default, so people are surprised when their newly installed Linux system won't
answer telnets. By the way, I am always careful to explain why telnet isn't there anymore; that they
probably should be thinking about ssh. But sometimes there are perfectly reasonable reasons: it's only
going to be used for a few internal users, there's no path from the outside world, or their firewall is
going to tightly control access. I'd still rather see them use ssh, but if they understand its weaknesses
and still want to go ahead, so be it.

Now you need to find the rpm that has telnetd. This command will search the appropriate place:

ls /mnt/RedHat/RPMS | grep telnet

If you don't have RedHat 9, you are going to have to search around for the proper drectory yourself.
You can "cd /mnt" and do "ls" and continue until you find what you want. Remember, you are only
looking for rpm's if you are using an rpm based system. You need to know what your OS uses.

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If you can't find anything that looks like telnet (and you won't on CD 2 of RedHat 9), you have to
move on to the next CD. If you have cd'd into the mounted directory, you have to cd off that before
you can unmount and eject the cd. If not, you'll get "device is busy" and won't be able to remove the
cd. In our sample case, we'll do:

cd /

umount /dev/cdrom

I could have also done:

cd /

eject cdrom

Now mount the next CD and repeat your search. On RedHat 9, the grep will turn up something like
"telnet-server-0.17-20.i386.rpm". I don't remember the exact numbers from the cd - the important
thing is that it's "telnet-server". However, on other systems, it may not be so obvious. For example,
from a RedHat ES system:

# rpm -q --whatprovides `which telnetd`

krb5-workstation-1.2.7-44

can sometimes help you find what you need. Once found, it needs to be installed. For the RedHat 9:

rpm -iv /mnt/RedHat/RPMS/telnet-server*

Now telnetd is installed (and "which telnetd" will show you where if you are using Bash). It's not
running yet, though. For RedHat 9, do:

chkconfig telnetd on

Confirm that telnet now works by "telnet localhost" or "telnet 127.0.0.1".

Other systems have other methods for enabling telnet. Most likely, they use Xinetd. For example, it
might look like one of these examples from two different systems:

root# cat /etc/xinetd.d/telnet

service telnet
{
disable = yes
socket_type = stream
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wait = no
user = root
server = /usr/libexec/telnetd
groups = yes
flags = REUSE
}
# cat /etc/xinetd.d/krb5-telnet
# default: off
# description: The kerberized telnet server accepts normal telnet sessions, \
# but can also use Kerberos 5 authentication.
service telnet
{
disable = no
flags = REUSE
socket_type = stream
wait = no
user = root
server = /usr/kerberos/sbin/telnetd
server_args = -n
log_on_failure += USERID
}

That's it. The details will vary, but the basic outline is find it, install it, and get it running. You really
do need to think about security - not just because it's telnet, but telnet does raise more flags than other
protocols and may even invite more break in attempts if it's on the internet: the fact that something
responds on port 23 may be seen as weakness and cause more attention than otherwise. There are
numerous articles here about general security and ssh; I really suggest you at least brush through
them.

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PRACTICAL-11

AIM:- Introduction to Multimedia Distribution System

Theory:-

We present an evolutionary framework for provisioning enhanced network-based multimedia

distribution services to a diverse set of receivers. The framework addresses various degrees of
heterogeneity among "distribution paths" from content sources to receivers, where a distribution path
carries information from a content-aware multicast distribution tree from a source to one or more
receivers. The heterogeneity is characterized by a spectrum of tradeoffs among receiver/client
processing capabilities, network conditions, and media representations of desired content. Our goal is
to provide individual receivers with the best feasible quality and representation of subscribed
multimedia content by efficiently generating distribution paths suiting groups of receivers as they join
a multicast. Toward this end, the framework utilizes several evolutionary measures. First, we
introduce explicit awareness of receiver capabilities (e.g., bandwidth, CPU processing power) and
link characteristics (e.g., loss rate, error rate) into the network. Second, we decouple media content
from its representation to allow the network to generate and distribute multiple representations for the
same content. Last, we model the distribution of content from sources to receivers as a relay across
multiple content-aware intermediaries that cooperate to overlay a programmable multimedia network
on the underlying packet-switched network. The multimedia overlay network thus formed provides
sophisticated content-based programmability over the provisioning, routing, and management of
media flows. Realization of such a multimedia overlay network requires extensions to existing
Internet multicast and resource-provisioning technologies.

1. Introduction

Traffic in the next generation of the Internet is expected to be rich in multimedia content , thanks to
quality of service (QoS), mechanisms for resource reservation and high-bandwidth pipes as well as
increased expectations .At the same time, the tremendous proliferation of multimedia content,
multimedia formats, and multimedia-capable devices demand a rethinking of fundamental
distribution mechanisms found in the current Internet .The next generation of multimedia networks
should be capable of efficiently mitigating the interaction of multiple performance-limiting factors
during the distribution of the new multimedia traffic payloads. Examples of performance-limiting

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factors include receiver capabilities such as access bandwidth and media processing power, and link
capabilities such as loss and error rates.

Consider the following scenario, in which the same content is to be distributed to a diverse group of
receivers. In particular, consider the following types of receivers: (a) network computers (NC), (b)
personal computers (PC), (c) palmtops (PDA), and (d) workstations (WS). On one hand, NCs are
relatively low-CPU processing nodes connected via a high-bandwidth pipe at low error rates, whereas
PCs have more CPU processing power but are connected via a shoestring-bandwidth pipe at higher
error rates. Similarly, workstations are typically very-high-CPU processing nodes connected via a
very-high-bandwidth pipe at very low error rates, whereas palmtops are very-low-CPU processing
nodes connected via a very-small-bandwidth pipe at typically high error rates.

Today's Internet is simply not capable of multicasting multimedia content to such receivers. Consider
the operational space of these receivers (Figure 1) in terms of three primary performance-limiting
factors over the performance and efficiency of end-to-end delivery:

• Available bandwidth (B/W).

• Receiver computational performance (CPU).
• Error tolerance (TOL).

Figure 1

Whereas the CPU axis characterizes the ability of a receiver to process a given media type, the B/W
and TOL axes characterize the end-to-end transport and the media. A point on this space
characterizes the set (receiver, media, and link).

These particular receivers do not lie within a linear or planar region. On one hand, in terms of
increasing bandwidth, these receivers would be ordered as (c, b, a, d); on the other hand, in terms of
increasing processing power, they would be ordered as (c, a, b, d). Moreover, with respect to
decreasing error tolerance, they would be ordered as (c, b, d, a). A projection from this space results
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in a set of incompatible receivers being grouped together. Moreover, the resulting performance
compromise across such grouped receivers is neither specifiable nor controllable in today's Internet.
End-to-end provisioning to such widely heterogeneous receivers requires network intelligence to
accommodate the differences in receiver connectivity, processing capabilities, and prevalent error
rates. In general, making the network aware of such receiver disparities enables it to provision the
same content in formats/representations customized for the needs and preferences of individual
receivers.

For example, if audio content were to be broadcast to receiver types (a, b, c, d), the network could
provision a with a relatively high-bandwidth representation of low decoding overhead and high
tolerance to errors (e.g., phone-quality µ-law1 audio); b with a relatively lower-bandwidth
representation but with higher decoding overhead and lower tolerance to errors (e.g., Internet-quality
audio); c with a negligible-bandwidth representation of negligible decoding overhead and high
tolerance to errors (e.g., text transcripts); and d with a high-bandwidth representation regardless of
decoding overhead and tolerance to errors (e.g., CD-quality audio). Thus, to efficiently accommodate
the operational characteristics of diverse receiver types such as a · · · d, multiple media
representations of a given media content may have to be generated and distributed.

A straightforward solution would require each content source to provide the same content in each of
the desired media representations. Each receiver's client software to access (i.e., decode and play
back) multimedia content would have the ability to understand all of the media representations that
could possibly be desired by any receiver. This solution, however, is not feasible in practice for
several reasons. First, because of the rapid proliferation of new and diverse information and
entertainment appliances/devices, it may be practically impossible to outline the most common set of
receiver characteristics that define the targeted receiver audience. As a result, and because a given
content may be accessed by any number of receivers, a complete set of desired media representations
for the content may not be known a priori. Second, even if the targeted receiver audience were to be
determined in advance, it would be prohibitively expensive for a content provider to publish content
in a large set of media representations. Finally, supporting every media representation in the client
software would impose significantly higher resource (especially memory and/or disk) requirements
on the receivers, hence increasing their cost. Moreover, this makes future representation of content in
new media formats difficult if not impossible. All of these problems can be addressed by enabling the
network to provide rich "content connectivity" between sources and receivers.

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In this paper, we present an evolutionary framework for provisioning enhanced multimedia
distribution-of-content services to a group of receivers. The framework addresses various degrees of
heterogeneity among "distribution paths" from a common content source to diverse receivers, where
a distribution path carries information from a content-aware multicast distribution tree between the
source and one or more receivers. The goal of the framework, given the broadcast of some
multimedia content, is to generate one or more distribution paths that are compatible with various
receivers as they join the broadcast/multicast. The framework enables the realization of a multimedia
overlay network that provides sophisticated content-based programmability over the provisioning,
management, and distribution of media flows from content sources to receivers.

Toward this end, we utilize a number of evolutionary measures. First, to address receiver
heterogeneity, we introduce awareness of receiver and link capabilities into the network. Second, we
decouple media content from its representation and provision individual receivers with the best
feasible representation that suits the receiver and the network. Third, we introduce intelligence into
the network that allows it to exploit and adapt to request patterns across receivers (and groups of
receivers). The above techniques support a feasible performance spectrum capable of supporting
heterogeneity with regard to receiver capabilities and preferences, and performance tradeoffs among
error resiliency, network bandwidth, and congestion.

To decouple content from representation--a key feature of our framework--the overlay supports
content-based mechanisms to reconfigure distribution paths so as to address a wide range of receiver
heterogeneity. This allows the overlay to provision content to a particular receiver by "transforming"
such content from an ill-suited representation to a better-suited one. Given a core content distribution
tree, the overlay constitutes a programmable network capable of autonomously generating branches
from the core distribution tree. The branching criteria are based on cost criteria such as receiver
capabilities (e.g., bandwidth, CPU processing power) and link capabilities (e.g., loss rate, error rate).

Our work builds upon and extends the notion of overlay concepts and application-level framing
(ALF) . In contrast to Clark's original ALF discussion, the notion of a distribution path is used to
expose interior, application-level control points during the relay of a media flow as opposed to just at
its ends.

40