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Chapter 1: Getting Started with DirectSound
Figure 1.1: Standard speaker layout for 5.1 sound.
Figure 1.2: Standard speaker layout for 6.1 sound.
Figure 1.3: Standard speaker layout for 7.1 sound.
Chapter 2: Changing the Volume, Panning, and Frequency of Stereo Sound
Figure 2.1: Main dialog box of the Cacophony tool.
Figure 2.2: Add or Edit Sound dialog box for 2-D sounds.
Chapter 3: Moving Sounds in 3-D Space
Figure 3.1: Rumpus 3-D SFX main dialog box.
Figure 3.2: Doppler effect.
Figure 3.3: Add or Edit Sound dialog box for 3-D sounds.
Figure 3.4: Relationship between minimum distance and volume.
Figure 3.5: Inside and outside sound cones.
Figure 3.6: Listener in a 3-D world.
Chapter 4: Adding Special Effects and Environmental Reverb to 3-D Sounds
Figure 4.1: Special Effects group box.
Figure 4.2: Special effects settings for the Distortion effect.
Figure 4.3: Environmental Reverb dialog box.
Figure 4.4: Change Special Effect Settings dialog box for the Chorus effect.
Chapter 5: Understanding Audio Special Effects
Figure 5.1: Spectrum analysis showing a fundamental tone and its harmonics.
Figure 5.2: Dynamic range of human hearing compared to 16-bit digital audio.
Figure 5.3: Block diagram of wet/dry mix functionality.
Figure 5.4: Block diagram of feedback functionality.
Figure 5.5: Sine wave before and after clipping.
Figure 5.6: Three waveform shapes .
Figure 5.7: Two sine waves in quadrature phase.
Figure 5.8: Peaking equalization showing three different bandwidths at the same center frequency.
Figure 5.9: Signal amplitude before and after compression.
Chapter 6: Streaming Sounds into Circular Buffers
Figure 6.1: Circular Streams dialog box.
Figure 6.2: Three Streams dialog box.
Chapter 7: Driving Hardware with Property Sets
Figure 7.1: Examples of occluded and obstructed sound.
Figure 7.2: Property Values dialog box.
Figure 7.3: Sewer pipe environment.
Chapter 8: Building an Application with the Concertina Framework
Figure 8.1: Concertina framework test dialog box.
Chapter 9: Introducing DirectShow and Video Rendering
Figure 9.1: DirectShow filter graph for AVI file playback.
Figure 9.2: Filter Graph Manager.
Figure 9.3: DirectShow GraphEdit utility.
Figure 9.4: AVI file playback in GraphEdit.
Figure 9.5: AVI file playback using the VMR-9.
Figure 9.6: Video-mixing preferences in the VMR-9.
Chapter 10: Taking Video to the Third Dimension
Figure 10.1: VMR plug-in components .
Figure 10.2: VMR mixing mode.
Figure 10.3: VMR pass-through mode.
Figure 10.4: Two fields of interlaced video.
Figure 10.5: Bob and weave modes.
Chapter 11: Customizing Compositors
Figure 11.1: Source and target rectangles in the video 15 puzzle.
Figure 11.2: Texture and vertex coordinates in the compositor.
Figure 11.3: Calculating the destination rectangle.
Figure 11.4: Texture stages in the AlphaBurst compositor.
Figure 11.5: Dependent read for sepia tone shader.
Chapter 12: MultiMon, ProcAmp, Deinterlacing, and Other Odds and Ends
Figure 12.1: Multi-VMR application.
Figure 12.2: DirectShow filter graph for writing AVI files.
Chapter 13: Producing Content with Technical Quality
Figure 13.1: Steps for using chromakey to layer video.
Figure 13.2: Frames before and after the video was repositioned and cropped.
Figure 13.3: Five steps of the production process.
Figure 13.4: Two examples of camcorders that feature three CCD chips.
Figure 13.5: Example of a portable DAT recorder.
Figure 13.6: Example of a small lavalier microphone.
Figure 13.7: Record dialog box with VU meters that show audio levels.
Figure 13.8: Components of a video-editing program.
Chapter 14: Optimizing Quality Throughout Production
Figure 14.1: Microphone showing a cardioid pickup pattern.
Figure 14.2: Music file opened in a digital audio workstation (DAW).
Figure 14.3: Low-end shelf EQ added with an equalizer.
Figure 14.4: EQ settings in a parametric equalizer.
Figure 14.5: EQ settings in a graphic equalizer.
Figure 14.6: Waveform of a voice before noise reduction is applied.
Figure 14.7: Same waveform of a voice after noise reduction is applied.
Figure 14.8: Sound profile of noise in an audio file.
Figure 14.9: Waveform showing a static pop.
Figure 14.10: Same waveform after pop removal was applied.
Figure 14.11: Waveform zoomed-in to show a transient noise.
Figure 14.12: Same waveform after the pencil tool was used to remove the noise.
Figure 14.13: Waveform showing clipped audio.
Figure 14.14: Same waveform after a restoration process is used.
Figure 14.15: Original waveform of a voice track.
Figure 14.16: Same waveform after a portion was replaced with room tone.
Figure 14.17: Same waveform with a portion muted or silenced.
Figure 14.18: Sample waveform of a track from a video.
Figure 14.19: Original waveform showing a pop.
Figure 14.20: Same waveform after the pop was replaced with room tone.
Figure 14.21: Typical audio compressor plug-in.
Figure 14.22: Waveform of the video track in Figure 14.18 after compression is applied.
Figure 14.23: Video-editor timeline showing the original video track synchronized with the processed track.
Figure 14.24: Background audio track layered with an edited voice track.
Figure 14.25: Using a multitrack program to overlap audio segments.
Figure 14.26: Volume graph added to overlapped audio in a multitrack program.
Figure 14.27: Color-correction plug-in.
Figure 14.28: Software video waveform monitor display.
Figure 14.29: Software video vectorscope display.
Appendix B: Multichannel Audio Tool
Figure B.1: Multi-channel audio tool.
Color Insert
Color Plate 1: Cacaphony tool running the DistantCannons file.
Color Plate 2: Rumpus tool running the CarShop file.
Color Plate 3: To calculate echo delays use the formula: echo delay (ms) = 6 * distance to cliff in meters. file.
Color Plate 4: The natural world provides great inspiration for audio occlusion and obstruction effects.
Color Plate 5: Mixing two video streams in DirectShow with the VMR-9 filter.
Color Plate 6: 3-D mesh rendered on top of a video cut scene.
Color Plate 7: Video texture applied to a 3-D scene.
Color Plate 8: Using custom video mixing to create a 15 puzzle.
Color Plate 9: Two videos blended with an alpha map.
Color Plate 10: Gray scale pixel shader.
Color Plate 11: Sepia tone pixel shader.
Color Plate 12: "Grue" (green-blue) pixel shader.
Color Plate 13: Texture bitmaps used in the Pixellator sample.
Color Plate 14: "Fuzzy dots" pixel shader, using a volumetric texture lookup.
Color Plate 15: ProcAmp controls for brightness, contrast, hue, and saturation.
Color Plate 16: Playing multiple videos in a 3-D scene.
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Fundamentals of Audio and Video Programming for Games (Pro-Developer)
ISBN: 073561945X
EAN: 2147483647
Year: 2003
Pages: 120
Authors:
Peter Turcan
,
Mike Wasson
BUY ON AMAZON
Crystal Reports 9 on Oracle (Database Professionals)
Oracle Structures
Oracle SQL
Oracle Advanced SELECT Options
Appendix A Common Issues
Appendix B Functions
Absolute Beginner[ap]s Guide to Project Management
The Project Manager
Determining the Project Budget
The Impact of the Project Budget
Managing Project Risks
Critical Aspects of Expectations
SQL Tips & Techniques (Miscellaneous)
Using SQL Data Definition Language (DDL) to Create Data Tables and Other Database Objects
Working with Functions, Parameters, and Data Types
Writing External Applications to Query and Manipulate Database Data
Working with Data BLOBs and Text
Writing Advanced Queries and Subqueries
Cisco CallManager Fundamentals (2nd Edition)
Cisco CallManager Architecture
H.323 Endpoint Devices
Understanding Field Data in CMRs
Appendix C. Protocol Details
SCCP Call Signaling
Programming .Net Windows Applications
Windows Forms and the .NET Framework
Forms Inheritance
SystemInformation Properties
Containers
ADO.NET
Microsoft Visual Basic .NET Programmers Cookbook (Pro-Developer)
Multithreading
Network Programming
Windows Services
ADO.NET
Web Services
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