Monday, September 24, 2007
Fantasy Game
I tried to alternate the game "Sheik Attack" by having it hearing sensitive rather than to have much of visual effects. In fact, there won't be any visuals whatsoever for this game. the player will have a headset and an eye cover(to increase the effect of the hearing or to not be distracted by any other visual sights that might disturb the concentration of hearing) and a set of plastic guns with triggers. when the player hears a sound of footsteps of running towards them, the player will need to spot them quickly and shoot at the direction of the enemy coming towards them.
America's Army vs. Scrabble
I have chosen America's Army from the text and Scrabble for the game to compare to America's Army. America's Army is a free online game where the users are simulated in a computated situations that are supposed to give realistic perspective on fighting the terrorists. As for Scrabbles, most people have basic knowledge on how to play the game. with the given letters, the player is to create a word on the board. However these two games require to incorporate different senses of the body to play them. First of all, though it is not required, America's Army has sound effects that players may be sensitive about. sound of gunshots and simulated people screaming and giving out orders is one of the reasons why some people play such simulated games. on the other hand, Scrabble does not require any hearing to play the game. They both require the usage of language; not in the same way though. In America's Army , according to the text, language in the sense of communicaiton is crucial. Because there may be multiple players, up to 32 players, while speaking is not required, being able to use language to communicate with each other is very important. Scrabble, though it is a game of language, bans communicating with other players unless through the spelled out words on the board. It does not require speaking to communicate.
Monday, September 17, 2007
Digital Video
History
Early experiments with digital video were first accomplished throughout the 1960s by the research departments of entities such as the BBC and Bell Laboratories, both developing such to eliminate the introduction of noise and distortion on video feeds for television sent over the terrestrial microwave relay and coaxial cable circuits of the day.
Also starting in the late 70s to the early 80s, several types of video production equipment, such as time base correctors (TBC) and digital video effects (DVE) units (two of the latter being the Ampex ADO, and the NEC DVE), were introduced that would operate by taking a standard analog video input and internally digitizing it. This made it easier to either correct or enhance the video signal, as in the case of a TBC, or to manipulate and add effects to the video, in the case of a DVE unit. The digitized and processed video from these units would then be converted back to standard analog video.
Later on in the 1970s, manufacturers of professional video broadcast equipment, such as Bosch (through their Fernseh division), RCA, and Ampex developed prototype digital videotape recorders in their research and development labs. Bosch's machine used a modified 1" Type B transport, and recorded an early form of CCIR 601 digital video. None of these machines from these manufacturers were ever marketed commercially, however.
Digital video was first introduced commercially in 1986 with the Sony D-1 format, which recorded an uncompressed standard definition component video signal in digital form instead of the high-band analog forms that had been commonplace until then. Due to the expense, D-1 was used primarily by large television networks. It would eventually be replaced by cheaper systems using compressed data, most notably Sony's Digital Betacam, still heavily used as a field recording format by professional television producers.
Consumer digital video first appeared in the form of QuickTime, Apple Computer's architecture for time-based and streaming data formats, which appeared in crude form around 1990. Initial consumer-level content creation tools were crude, requiring an analog video source to be digitized to a computer-readable format. While low-quality at first, consumer digital video increased rapidly in quality, first with the introduction of playback standards such as MPEG-1 and MPEG-2 (adopted for use in television transmission and DVD media), and then the introduction of the DV tape format allowing recording direct to digital data and simplifying the editing process, allowing non-linear editing systems to be deployed wholly on desktop computers.
As of 2007, the highest resolution demonstrated for digital video generation is 33 megapixels (7680 x 4320) at 60 frames per second ("UHDV"), though this has only been demonstrated in special laboratory settings. The highest speed is attained in industrial and scientific high speed cameras that are capable of filming 1024x1024 video at up to 1 million frames per second for brief periods of recording.
Early experiments with digital video were first accomplished throughout the 1960s by the research departments of entities such as the BBC and Bell Laboratories, both developing such to eliminate the introduction of noise and distortion on video feeds for television sent over the terrestrial microwave relay and coaxial cable circuits of the day.
Also starting in the late 70s to the early 80s, several types of video production equipment, such as time base correctors (TBC) and digital video effects (DVE) units (two of the latter being the Ampex ADO, and the NEC DVE), were introduced that would operate by taking a standard analog video input and internally digitizing it. This made it easier to either correct or enhance the video signal, as in the case of a TBC, or to manipulate and add effects to the video, in the case of a DVE unit. The digitized and processed video from these units would then be converted back to standard analog video.
Later on in the 1970s, manufacturers of professional video broadcast equipment, such as Bosch (through their Fernseh division), RCA, and Ampex developed prototype digital videotape recorders in their research and development labs. Bosch's machine used a modified 1" Type B transport, and recorded an early form of CCIR 601 digital video. None of these machines from these manufacturers were ever marketed commercially, however.
Digital video was first introduced commercially in 1986 with the Sony D-1 format, which recorded an uncompressed standard definition component video signal in digital form instead of the high-band analog forms that had been commonplace until then. Due to the expense, D-1 was used primarily by large television networks. It would eventually be replaced by cheaper systems using compressed data, most notably Sony's Digital Betacam, still heavily used as a field recording format by professional television producers.
Consumer digital video first appeared in the form of QuickTime, Apple Computer's architecture for time-based and streaming data formats, which appeared in crude form around 1990. Initial consumer-level content creation tools were crude, requiring an analog video source to be digitized to a computer-readable format. While low-quality at first, consumer digital video increased rapidly in quality, first with the introduction of playback standards such as MPEG-1 and MPEG-2 (adopted for use in television transmission and DVD media), and then the introduction of the DV tape format allowing recording direct to digital data and simplifying the editing process, allowing non-linear editing systems to be deployed wholly on desktop computers.
As of 2007, the highest resolution demonstrated for digital video generation is 33 megapixels (7680 x 4320) at 60 frames per second ("UHDV"), though this has only been demonstrated in special laboratory settings. The highest speed is attained in industrial and scientific high speed cameras that are capable of filming 1024x1024 video at up to 1 million frames per second for brief periods of recording.
Subscribe to:
Posts (Atom)