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The Mobile Radio Propagation Channel Part 2


level model is called the microscopic fading model which focuses on the study of the
short-term received signal strength (over a few A) due to constructive and destructive
interference of the multipath. Figure 1.2 illustrates the three level models of wireless
channels.
The path loss model is usually used for system planning, coverage analysis and
link budget [271]. On the other hand, the shadowing model is usually used for power
control analysis, second order interference analysis as well as more detailed coverage
and link budget analysis [ 1.521. Finally, the microscopic fading model is usually used
for the detail design of the physical layer transmitter and receiver such as coding,
modulation, interleaving, etc. [320]. In this chapter, we elaborate the three level
models using a qualitative approach in the following sections.


1.2 LARGE SCALE PATH-LOSS
Path loss model focuses on the study of the large scale variation on the average
received signal strength due to variation in distance between the transmitter and the
receiver [203]. The simplest path loss model is thefree space path loss model where
the averaged received signal strength is inversely proportional to the square of the
distance between the transmitter and the receiver. For instance, the received signal
power P, is given by:
Pt Gt Grc2
P, =        167r2d2 f
where c is the speed of light, Pt is the transmitted power, Gt and G, are the transmit
and receive antenna gains, d is the distance separation between the transmitter and
the receiver and f is the carrier frequency of the transmitted signal. In dB form, the
received signal power is given by:
Pr(dB)=Pt(dB) + K – 20 log10 d- 20log10f

Figur 1.2 Three level channel models for wireless systems
Define the path loss as:
PL(dB) = Pt(dB) - P,(dB).
Hence, the free space path loss equation[23] is given by:
PL(dB) = -K + 20 log10 d + 20 loglo f
d
= PL(d0) + 2010g,o -
do
(1.1)
for some reference distance do. The path loss equation indicates how fast the received
signal strength drops with respect to the change in distance. For example, the received
signal strength is reduced by 4 times if we double the distance between transmitter
and the receiver or double the carrier frequency. The inverse square law is a direct
result of the Maxwell wave equation [23] in free space and can be used to model the
signal loss due to line-ofsight (LOS) propagation mode where the transmitter and
receiver can see each other.


to be continue.............

The Mobile Radio Propagation Channel Part 1

revise Wireless Internet and Mobile Computing interoperability and performance from Wireless Internet And Mobile Computing book by Yu-Kwong Ricky Kwok(Colorado State University) andVincent K. N. Lau(The Hong Kong University of Science and Technology)


CHAPTER 1
THE MOBILE RADIO PROPAGATION
CHANNEL
The beaten path is the safest. (Via trita est tutissima.)
-Latin proverb
1.1 INTRODUCTION
A communication system consists of a transmitter and a receiver connected by a
channel. The channel is a black box representation of the actual physical medium
where a signal at the channel input will produce a corresponding channel output
after suffering from various distortions. Examples of a physical medium include
telephone wire, coaxial cable, radio frequency (RF), and optical fiber. Different
meda have different signal propagation characteristics and require different designs.
In this chapter we focus on understanding the signal propagation characteristics of
wireless channels.
Wireless Internet and Mobile Computing. By Yu-Kwong Ricky Kwok and Vincent K. N. Lau 1
Copyright @ 2007 John Wiley & Sons, Inc.

The simplest wireless channel is the additive white Gaussian Noise (AWGN)
channel where the output signal from the channel is given by:
where z ( t ) is the channel input and Z ( t ) is the white Gaussian channel noise. In this
channel, the received signal composes of an undistorted transmit signal contaminated
with channeI noise. In Chapter 2, we discuss the design and performance of basic
digital communication systems using AWGN channel as a simple example. Note that
AWGN channel is quite an accurate model for deep space communications between
earth station and geostationary satellites or spacecrafts.
On the other hand, for terrestrial wireless communications, the channel model is
much more complicated due to the time-varying nature as well as the multipath nature
of the wireless channel [2711. For instance, multipath refers to the situation that there
are more than one propagation path between a transmitter and a receiver. The received
signals from the multipaths are superimposed with each other. Depending on the phase
difference (or path difference) of the multipaths, the superposition may be constructive
or destructive. When the superposition is constructive (path difference around nX
for some integer n where X is the carrier wavelength), the received signal will be
strong. On the other hand, when the superposition is destructive (path difference
around nX/2 for some integer n), the received signal will be quite weak. This is
illustrated in Figure 1.1


LOS: Line-Of-Sight        NLOS: Non-Line-Of-Sight
Figure 1.1 Illustration of multipath in terrestrial wireless communications
Typically, the signal envelop as a result of multipath superposition can fluctuate
over 30dB or more over a span of a few X in distance. Suppose the carrier frequency
is 3GHz, the wavelength X is around lOcm and the large fluctuation of signal strength
(35 dB) can be observed with a span of -30cm which is quite short.
On the other hand, time variation of the wireless channel results from the mobility
of the transmitter, the receiver or the environment (e.g., scatterer). Hence, the number
of multipaths, the strength of multpaths as well as the delays of the multipaths can be
time varying.
To capture different time scale of the distortions introduced by the wireless channels,
we introduce a three-level model. The first level model is called the large scale
path loss model. The path loss model focuses on the study of the long-term or large
scale variations on the average received signal strength due to the variation of distance
from the transmitter and the receiver. The second level model is called the shadowing
model which focuses on the study of the medium term variation on the medium-term
average (over hundreds of A) received signal strength due to local changes of terrain
features or man-made obstacles (such as blockage or coverage shadows). The third

continued....

MOST IMPORTANT STEP IN THE THEORY OF QUALITATIVE AND QUANTITATIVE PROPOSAL TO MAKE


THEORY
IN RESEARCH
QUALITATIVE


BY TJUTJU SOENDARI

Theory in qualitative research

• All scientific research, therefore all
researchers be armed with the theory.

• In quantitative research, the theories used should
is obvious, because the theory here will serve to
clarify the issues under study, as the basis for
formulate hypotheses, and as a reference for
prepare research instruments.

• Therefore, the theoretical basis of research proposals
quantitative theory should be obvious what to wear.
Theory in qualitative research

• All scientific research, therefore all
researchers be armed with the theory.

• In quantitative research, the theories used should
is obvious, because the theory here will serve to
clarify the issues under study, as the basis for
formulate hypotheses, and as a reference for
prepare research instruments.

• In quantitative research the number of theories used
corresponds to the number of variables studied

• While in the character of qualitative research
holistic, number theory that must be owned by a researcher
qualitative far more because they have to be adjusted
with a growing phenomenon in the field.

• Qualitative researchers would be more professional if the master
all theories so that his insights will become more
wide and can be a good research tool.

• Therefore, the theoretical basis of research proposals
quantitative theory should be obvious what to wear.


• Theory for qualitative researchers will work
as a preparation to be able to understand
broader social context and
depth.

• However, in conducting research
qualitative, qualitative researchers must be able to
release those held theory and not be used as a guide for
develop instruments and as guidelines for interviews, and
observation.

• Researchers are required to explore qualitative data
based on what was said, felt, and carried out by participants or data sources.

• Qualitative researchers should be''emic perspective "
means to obtain the data is not "as should "not based on what
lot of rethinking by researchers

• However, based as it is a occur in the field is experienced, perceived, and
lot of rethinking by participants / data sources.

• Therefore, qualitative research is much more
difficult from the quantitative research, because researchers
qualitative be armed with a broad theory
so as to become "human instrument"good.

• In this Borg and Gall (1988) states
that "qualitative research is more difficult when
compared with the research kualtitatif,
because the data collected is subjective
and instruments as a means of collecting data
the researchers themselves.

• In order to become an instrument of research
good, qualitative researchers are required to have
extensive knowledge, both theoretical insights
and insights related to the context
studied a form of social values, culture
beliefs, laws, customs and traditions that occur and
developed in the social context.

• If not, then the researcher will be difficult to open
questions to data sources, it is difficult
understand what happened, will be able
conduct an inductive analysis of
data obtained.

• qualitative researchers to be able to organize
all theories are read.

• The foundation of the theory is written in a research proposal
more functions to show how far
Researchers have a theory and understanding the issues
studied although the problem still
temporary

• Therefore, basic theory put forward no
is set in stone, but is temporary.

• Qualitative researchers would be required to
grounded research, which found the theory based on
data obtained in the field or social situation.

• give priority to the perspective of qualitative research
emicàArtinya concerned with the views of respondents,
that is how he looked at and interpret the world
in terms of its founding.

• Researchers do not impose their own views.
The researcher enters the field without generalization, seakanakan
do not know anything, so it can
pay full attention to the concepts
adopted by participants.

• The view researchers called ETIC perspective

• Researchers should not be highlighting the views 'ETIC' this.



Differences
Qualitative & Quantitative Research

Element
Research

Kuantitatif
Kualitatif
  * Problems and
goal
Condition research
(settings)
Approach
Measurement and
analysis
Procedure
research
Equipment / instruments
Conclusion

Testing the hypothesis or
solve problems
deduction based on the theory

Artificial and manipulation

Results / products

Quantitative, statistical

Designed previously

Objective and raw

Generalized predictive
Generate data
may be used for
formulate hypotheses

Natural Condition

Process

Judgemnt from within and from
outside

Designed and implemented
in field

Subject researchers and depth /
deep

description, analysis in
context of space and time
situation



Generalization 

• Generalization in qualitative research called the transferability → diversion.
• The point is that, the research results can be transferred or applied qualitative elsewhere, when conditions elsewhere is not much different place research
• In certain institutions, which replaced the title of this often administrative difficulties. Therefore institutions that deal with qualitative research, must be willing to and able to adapt to the characteristics This qualitative problem.
• Sugiyono, (2006:232) qualitative researchers who changed problems or change the title of his research after entering the research field or after completion, is a qualitative researcher is better, because he deemed able to let go of what has been a lot of rethinking before, and be able to view the phenomenon more broadly and deeply in accordance with what that occur and develop in social situations under investigation. Transfer Value of Qualitative Research
• With regard to the question "until Where the research can be applied or used in other situations "
• In quantitative research generalization show "to which research results it applies to specific populations based on random sampling "à Generalization show external validity
• External validity with respect to the level generalization / application level "if the results of the study also applies to other situations (applicability),
"à or "whether there are matches or suitability (Fittingness) or can be applied, left to readers and users (transferability) to other situations "
• If the user sees harmony results of the situation, so here seemed the transfer, although no two situations same, so still need to be adjusted according to circumstances of each À in conditions so then they will have a validity of research results External

BOOK OF THE LAW OF MILITARY CRIMINAL LAW



APPLICATION OF GENERAL CRIMINAL LAW
Article 1
(Amended by Act No. 9 of 1947) For the application of this statutebooks of provisions of general criminal law, including the ninthchapter of the book's first book of the Criminal Law Act, unlessthere are deviations that defined by law.


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BS-ANALYZING DATA WITH special ArcView GIS 3.3




GeoProsessing is the most frequently used facilities
in processing spatial data. Through GeoProsessing we can
make new data through manipulation theme on view. in
many cases, in view graphical data manipulation and data analysis
attributes in the table is able to produce new information
be useful.


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Write a Thesis Proposal


The fact we are at the Department of Archaeology:
 Writing a proposal that should be written in the third, just started written after the fifth year
 "The problem is that yes there is no problem"
 Proposals already seminar, tapai still difficulties in writing thesis
What is the proposal?
 The proposal is a statement of the urgency for research (interesting issue, following the developmental needs of science, people have not been investigated, or have implications for theoretical and practical)
 The proposal describes the proper research organization, systematic and logical
 Can project what will be done and the results in the field
 The proposal is key to the success of the research process in the "field".
Completeness of proposal writing and sitematika
1. Background
The background contains a description of the important and needed to do research. Alasah should be directed to the nature and implications of the phenomenon itself, will be even better if given the justification of theories or concepts. Therefore, the background should be mentioned too many facts to reinforce the reasons for the need for such research.
2. Formulation of the problem
 Formulation of the problem is key in any investigation, there is no problem then there is no research.
 Research problem should be formulated with a sharp, clear, focused, and should follow the logic of thinking is correct.
 Formulation of the problem is based on creativity and imagination of researchers, which can be sourced from personal interests or derived from theory.
 That problem should be problematic, it means having the gap between the real with the ideal, thus requiring an explanation for the gap that will have broad implications both theoretically mapun practical.
  Therefore, it is quite a problem. Then, the problem is elaborated (unloaded) to research questions, but not too much (maximum of three questions), so the question becomes the focus, not widened everywhere.

3. Objectives of research
The goal of course is largely determined by the problem presented, and its nucleus contains the contribution of scientific research results to the interests or the interests that are practical.
4. Literature review
Insisted the exposure history of a literature review of research ever undertaken, both related to the theme raised and the location / area that will be studied. Exposure to it not only contains about important discoveries of peneliian already done, but also on approaches and methods they use. Therefore, the literature review also serves to demonstrate the originality of research, that the study is different from the research that has been done, or can also be complementary and improve the research has been done.
5. Theoretical framework
Theoretical framework is a framework to answer the research question. The term "theory" here refers to the source compilation framework, which is either existing theories, the definition of the concept, or even can be also of logic. People are usually hesitant to use the word "theory", because he considered only for research that deductive reasoning. Actually not. Once again, the framework for answering the research questions the research is still needed in inductive reasoning. If the concept is used as the source of the frame, then the subtitles can be changed to "conceptual framework". If the logic is used, then the sub-title is a "framework".
6. The research method
  Understanding the methods, approaches, and reasoning in the thesis we often jumbled and wrong use.
 The research method is a way or the concrete steps of the research: reasons for site selection, apat way data is collected, processed and analyzed. The method used is determined by the problem presented.
 The approach is a tool or a worldview which is used to "close" problem
 Reasoning is a way or path of thinking (inductive, deductive)
Context of writing a proposal
1. Topics of interest
2. Think of the ease in collecting and analyzing data
3. Mastery of the material

Law of Human Rights On The trial


LAW OF THE REPUBLIC OF INDONESIA
NUMBER 26 OF 2000
ABOUT
COURT OF HUMAN RIGHTS
BY THE GRACE OF GOD ALMIGHTY
PRESIDENT OF THE REPUBLIC OF INDONESIA,
Considering:
a. that human rights are basic rights bestowed by God on self-
humans, are universal and eternal, and therefore must be protected,
respected, maintained, and should not be ignored, minimized, or seized by anyone;


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Multimedia and Applications BL-dg Macromedia Director

Bab 7

TRANSITION, SOUND, AND
DIGITAL VIDEO


An animation will certainly feels a bit barren if not accompanied by
background noises that supports animation. For example, we make
animated man who was crying, would be more alive if
plus the sound of people crying. So also with the change from slide
one to the other slide. To be more subtle and interesting can be added
with transition effects. In addition, the Director we can also
importing video files in formats most widely used,
such as Quicktime and AVI.
In this chapter will discuss the transition effects and its use,
Implementation of sound in the movie as well as how to import video files,
play it on stage and set the video files can be
played entirely in accordance with a predetermined frame.


7.1. transition
In Director there are 52 transition effects and a transition we can
create a short animation which is played in between frames to
produce subtle changes when the sprite move, appear, or
to disappear.


7.1.1. adding Transitions
Transition has its own channel which lies on the Effect
Channel on the score (Figure 7.1). Transitions always occur after the end
The first frame sprites and sprite frame before the beginning of the second place
transition is placed.


Figure 7.1. channel Transition
To add a transition to the movie follow these steps:
1. In the transition channel, select the first frame of the sprite both places
we want to effect that transition occurs.
2. Choose Modify> Frame> Transition, or double-click on the frame
channel transition, will appear Frame Properties dialog box:
Transition. See Figure 7.2.



Figure 7.2. Frame Properties: Transition
Caption:
• Categories: contains classification effects in the transition to
categories that facilitate the search.
• Transitions: a list of all the transition effects of Director.
• Duration: the duration of the duration of the effect it will be played, the average default
transition is 2 seconds, you can change it by setting
the slider. See Figure 7.3.


Figure 7.3. Slider on the Transition Effect
• Smoothness: smoothness of transition effects is played. the more the
slider left, the effect will be more smooth transition, as well
on the contrary.
• Affects: do not all have the effect of this option, used for
determine the effect of induced transitions, there are two options.
- Entire Stage: transition effects that apply to the entire stage.
- Changing Areas Only: transition effect only applies to the area
we put the transition effects.
3. In the Frame Properties dialog box transition, select the Category
as desired.
4. Determine the Duration, Smoothness and Affect, if necessary.
5. Click OK, the Director will display the same number of cast members
with a number of existing transition cast member on the cast window.
Example 59: Giving the transition effects.
Give the file Transisi.Dir transition occurs so that each exchange
there is a picture transition effects.
Answer:
Follow these steps work as follows:
1. Open the file Transisi_Mulai.Dir, and save it back to the
Transisi.Dir name.
2. On the score had been there three sprites with a length of each
10 frames. Now, activate the cast window, click on the cast members
slot to-4.
3. Enable channel effect by clicking Hide / Show Effects
Channel.
4. Double-click on frame 10, will appear the parameters for the frame
Properties: Transition.
5. We will give effect to the transition, by clicking on a category
Wipe, then select Center Out, Horizontal, click OK.
6. Play the movie, the playback head will stay on frame 10
for 2 seconds and then resumed the next frame, but
there are no transition effects. Why? (See the discussion of 7.1.1.)
7. Now, click on the transition effects and then while pressing the
mouse button drag it to frame 11 (Figure 7.4).
8. Play the movie again, then we will see a change of
The first image to second image.
9. Give also the effects Other> Random Columns frame to-21,
that there is a change from the second image transition effects to images
the third.
10. Play the movie, and save it back.


Figure 7.4. Provision of transition effects
7.1.2. Tip Using the Transition
Here are some tips to remember when using transitions.
• To play a sound when the transition occurs, place a sound
on the frame before the transition.
• If the exported movie contains a transition as digital video or
PICS image file, the transition may not be included.
• The transition that occurs in sound or video is being done
decompression, may require more computer resources
greater than those available on systems with lower specifications,
try to make that transition duration can be shorter and avoid
complex transitions such as dissolve, making the movie with
low specification will ensure our movie can be played in
all computers with a different resource.
• Avoid looping on frames that contain transitional, plays
continuous transition can be damaging on performance.
7.2. Sound
We can provide sound in the movie that we make. Such transitions,
sound put on a special channel, namely Sound Channel, the
Director, there are two sound channels (Figure 7.5). However, the actual
total number of sound channels is eight, which again only six
can be controlled using behaviors or Lingo. Sound file formats
Director is supported by MP3, AIFF and WAV.


Figure 7.5. Sound Channel
7.2.1. importing Sound
In the Director, sound imported using two ways, namely internal
(standard) and links, see Figure 7.6. Each has
advantages and its use depends on the case.
• Standard: sound file will be imported as an internal cast member.
Director will save data to a movie or sound files cast, and
put it into RAM completely before the sound is played.
This method is very suitable for small-sized sound files, excess
This is how sound files will be played directly so cast
Sound member is inserted into the memory. the drawback is
movie file size larger and use of sound files
sized too large will spend a lot of usage
the memory.
• Link To External File: the file will be imported as an external sound
cast member. Director only stores the relative address
reference to the location of the sound file. Thus, each
times the sound file is played, the Director will import sound data
based on the relative address, so we have to include
The sound file when we distribute our movie.
The advantage is a more efficient memory usage,
especially for computers that have a resourse RAM
small, and movie files can remain small. The drawback
is therefore only as a link, it takes time to
import sound data each time a sound is played so
no delay (delay) time. Magnitude of this delay is also dependent
on a computer resource that is used to play
movie, usually in the size of milliseconds. If we forget
include a sound file, the sound will not be able to
is played.


Figure 7.6. Import dialog box
Example 60: Importing sound standard methods.
Import Crowd laught sound and a kick to the file Animasi_Bola2.Dir
we have made in Chapters 4 and save it back with the name
Animasi_Bola2_Sound.Dir using standard methods.
Answer:
Follow the steps below workmanship.
1. Open the file again Animasi_Bola2.Dir in Chapter 4, and then click File>
Save As Animasi_Bola2_Sound.Dir.
2. Click on the Import icon, and open the folder on the CD accompanying Sound.
3. Highlight the file and Kick.Wav Laught.mp3 Crowd, see Figure 7.7.
4. Because of this sound file is small, then we will
using internal methods. On the Media column, make sure that
Standard Import is selected.
5. Save the movie again.



Figure 7.7. Import dialog box.
7.2.2. Inserting Sound to Score
As with video, sound only cast member to be played,
all frames that have been set for the sound sprite.
Furthermore, in the example Animasi_Bola2_ Sound.Dir, we
will make a sound every time the ball on the floor, and on the
last sound of people laughing, along with the release of the text.
155
Example 61: Inserting sound into the sound channel.
Modified sample 60 by inserting a sound kick to the sound channel
1 frame 55,80,105,138 and 157, enter also into the frame sound Crowd
158-245.
Answer:
Follow the steps below workmanship:
1. Make sure the movie Animasi_Bola2_Sound.Dir, still in a state
is open.
2. We will make the kick sound a 6 frame, for each time
ball on the floor. For that, drag the kick to the sound cast member
channel 1, the frame 20-24. See Figure 7.8.


Figure 7.8. Incorporate sound into the sound channel
3. Next, we will double this sprite. Still on the sound
channel 1, click on the frame 20-24, click Ctrl + C, right-click on
frame 55, and then click Paste.
4. Repeat for each time the ball hits the floor, ie on frame 80,
105, 138 and 157.
5. Drag the sound cast members crowd into channel 2, frame 158.
6. In the Property inspector to change, End Frame to 245.
7. Play the movie, every time the ball hits the floor will be heard
sound boom, and at the end there is the sound of people laughing together
discharge of the text, save this movie again.


Example 62: Importing sound method link.
Import Crowd laught sound and a kick to the file Animasi_Bola2.Dir
we have made in Chapters 4 and save it back with the name
Animasi_Bola2_Sound_Link.Dir, using the link to
external file.
Answer:
Follow the steps below workmanship:
1. Open the file again Animasi_Bola2.Dir in Chapter 4, and then click File>
Save As Animasi_Bola2_Sound_Link.Dir.
2. Click on the Import icon, and open the folder on the CD accompanying Sound.
3. Highlight the file and Kick.Wav Laught.mp3 Crowd.
4. On the Media column, make sure selected is Link to External
The file.
5. Save the movie again.
Example 63: Inserting sound into the sound channel.
Modified Example 62 by inserting a sound kick to the sound channel
1 frame 55,80,105,138 and 157, enter also into the frame sound Crowd
158-245.
Answer:
Follow the steps below workmanship:
1. Make sure the movie Animasi_Bola2_Sound_Link.Dir, still in
open state.
2. Drag the sound cast member kicks into channel 1, the frame 20-24.
3. Next, we will double, this sprite, still in sound
channel 1, click on the frame 20-24, then click Ctrl + C, and then click
Right on frame 55, and then click paste.
4. Repeat for frames 80, 105, 138 and 157.
5. Drag the sound cast members crowd into channel 2, frame 158.
6. In the Property inspector to change, End Frame to 245.
7. Play the movie, we can conclude that the way to enter
sound that is imported by default and is the same link.
7.2.3. Sound Properties
To view the properties of sound, follow these steps:
1. Click on the cast in the cast kick the window or kick in the sprite
that there are sound channel 1.
2. Activate the Property inspector, we will be able to see an additional tab
with the Sound icon, click that tab. See Figure 7.9.


Figure 7.9. Sound Properties
To make this sound is played over and over again, click the check box
loop, other than that we can also see the information can not be changed
such as Duration, Sample Rate, Bit Depth and Channel. to
play sound directly, click on the Play button.


7.3. Digital Video in Director
With Director, we can also play video files, but need
note that the Director can only play video files but
can not edit the video file. The video format most commonly
Director is used by Quicktime Movie (with extension MOV)
and Video for Windows (with extension AVI), but the Director also
RealMedia format and MPEG support, in this chapter we will only
focus the discussion on the format that is often used alone, ie
MOV and AVI.


7.3.1. importing Video
The video files are imported as external media, which means that the Director
just enter the reference location when imported the video file. this could
understandable, because video files are usually large, so that with
imported externally can reduce the movie file. by
Therefore, we have to include video files along with the movie
Director.
To import a video file just follow these steps:
1. Click the Import icon on the toolbar.
2. Select a video file (MOV or AVI) is desired and then click Import.
When the movie is played, the Director will seek the same relative address
to address when we import the file. For instance, we
store video files in the folder E: \ Presentations \ Videos \, and files Director
in the folder E: \ Presentations \, and if the video folder was moved to
Elsewhere, for example C: \ Videos \, then the Director will not be able to
play the video files, and a dialog box will appear
asked the location of the video file. See Figure 7.10.


Figure 7.10. The dialog box that asks the location of the video file


7.3.2. QuickTime Movie (MOV)
This format is most widely used because quicktime files can be opened
both Macintosh and Windows computers. However, unlike the
AVI files, to play the quicktime video we must ensure
QuickTime Player is installed. QuickTime Player can be
obtained free of charge on site www.quicktime.com.
Example 64: Importing Video, QuickTime (MOV).
Open a new movie and then import a quicktime video file and then
play with quicktime window. Save with the name
contoh_videoMov.Dir.
Answer:
Follow the steps below workmanship:
1. Create a new movie with the stage size = 500 x 330 and save
with the name contoh_videoMov.Dir.
2. Click the Import icon on the toolbar, go to the folder C: \ Program
Files \ Macromedia \ Director 8.5 \ Learning \ Lingo_Examples and
Vid.MOV choose, and then click Import.
3. Click Window> Quicktime Quicktime to open the Window,
press the Play button to play the video. Save
this movie again. See Figure 7.11.



Figure 7.11. Quicktime Window


7.3.3. Playing the Digital Video Cast Member
Video files will be played over the number of video frames cast members
them. For instance, if the speed of your movie is 15 frames per second
and the length of your sprite is 28 frames, the video file will be
played less than 2 seconds. To be able to play the entire file
digital video or sound, we can use the following three ways:
• Extend the duration of the sprite on the score. The video will remain
played during the playback head moves along the frame sprite
them. This method is usually not practical, because it is rather difficult to
match the video length with the length of the sprite on the score.
• Using Lingo (discussed in Chapter 9) and / or behavior
Hold On Current Frame to create a playback head remains
do looping on the frame containing digital video, so that
length of sprites on the score will not affect you, we still can
video plays with length sprite 5 frames or more, provided
last frame keep doing looping.
• Using the Cue Point located at Tempo Channel,
to play the video until it is completed, a new playback head
to the next frame.
Example 65: Inserting a QuickTime video and set the duration to
Stage.
Example 64 Modification of the video file by dragging it to the stage and
arrange for the length of the frame so that the video could be played to completion
use all three ways as discussed above.
Answer:
Follow the steps below workmanship:
1. Make sure the file is still open Contoh_VideoMOV.Dir. drag the cast
Vid.mov member into sprite channel 1, frames 1-28. look
Figure 7.12.
2. Play the video, we will see that the video
was stopped when only playable, so that we can not
see the whole video.


Figure 7.12. Preliminary results
3. Click on the sprite Vid, and activate the Property inspector and change the end
frame to 100. Try playing again, still not finished.
4. Change back to end the frame with 300, then play the movie again. time
This excess, so to use this technique we need to
clear about the duration of the video file, the new adjusted
with a length of sprites.
5. Now, change the End Frame to 10 (Figure 7.13), and switch
Library Palette, drag a hold on Current Frame behavior to the frame
10, then play the video. We can see the digital video
is played to completion.

Figure 7.13. score Channel
6. Next, we will try to use the technique que, delete
hold on current frame, then click the icon show or hide effect
the channel. See Figure 7.14.


Figure 7.14. score Channel
7. Double click on frame 10 (Figure 7.14), on the other channel,
so it will show the frame properties, click on the Wait For Cue
Point, and make sure the channel is filled with less MOV1. Leave the settings
the others. Click on OK. See Figure 7.15.


Figure 7.15. frame Properties
8. Now, play back movies, such as Hold On Current Frame,
video files will be played to completion. The difference is, if on Hold
On Current Frame playback head will remain there until
command to move the playback head to the frame
the next. While the technique que, after the video has finished
played, the playback head will continue to the next frame.
9. Save the movie again.
7.3.4. Properties QuickTime Video
To view the properties of the MOV video, activate the property inspector.
Then, we will see an additional tab, the tab with the QuickTime icon
QuickTime logo. See Figure 7.16.


Figure 7.16. Property Inspector MOV
Caption:
• Show video: if this option is not checked, the
video is not played. Turn off this option, if we only want
play sound from video.
• Play Sound: play a sound on the video file, if this option is not
given a check, the video file will be played without sound.
• Direct To Stage: Director of features given to placing
video cast member on the very front of the stage, the file
the video will run very well on this option.
• Show Controller: If this option is checked, movie
QuickTime will show up on stage controller to play
the movie. This is an excess in the movie contained
quicktime and this option does not exist on the AVI video. look
Figure 7.17.
• Paused: if this option is given tamda tick, when movie is played
These video files will not be played until there is a command to
play this video file (usually with a behavior or script
Lingo).


Figure 7.17. MOV File Controller
• Loop: activate this option if you want to play video files
over and over again.
• Streaming: activate this option if the movie that we make will
distributed to the Internet. This option will speed up the process
download, because the movie will be played while the rest is downloaded.
7.3.5. Microsoft Video for Windows (AVI)
As already mentioned earlier that the Director also supports
AVI video files. Different uses of video in AVI format and
MOV, which is using AVI files we do not need to install
QuickTime Player, other than that when imported Director will ask
whether the AVI file will be imported as Quicktime or AVI.


Example 66: Importing Video AVI as AVI.
Open a new movie and import an avi video, then drag to the score
give Hold On Current Frame behavior that movie can be played
to completion and save it with the name contoh_VideoAVI.Dir.
Answer:
1. Open a new movie and save it with the name
contoh_VideoAVI.Dir.
2. Click the Import icon on the toolbar to import videos.
Go to the video folder, then click the AVI. Click the Import icon, it will
out the Select Format dialog box (Figure 7.18) which asked
whether to import the AVI file is in QuickTime format or
AVI. Click on the AVI and then click OK.



Figure 7.18. Select Format dialog box
3. In the cast window will grow a cast member with a video icon
camera (Figure 7.19), save the movie again.


Figure 7.19. cast Window
4. Drag the avi video cast it into the score channel 1, frames 1-28.
5. Drag Hold On Current Frame behavior to the script channel at frame 28.
6. Play the movie and save it back, we will see that
there was no difference in the way QuickTime and AVI video to enter.


Example 67: Importing AVI Video as QuickTime.
Open a new movie and import an avi video. Import avi video
as a quicktime video.
Answer:
Follow the steps below workmanship:
1. Open a new movie.
2. Click the Import icon on the toolbar to import videos,
entry into the video folder, then click the AVI, then click the Import icon.
3. Select the format in the dialog box (Figure 7.18), select the format
QuickTime.
4. Click OK, the cast will get a window with a cast member
quicktime icon. This shows that have been imported avi video
as a quicktime video.
7.3.6. Property Video AVI
We can see that the property to MOV and AVI are not many
is different. The difference lies only in the presence or absence of the controller and
preload. In Video AVI, there are additional preload is used
to insert a video file into memory first before
played (Figure 7.20).


Figure 7:20. Property Inspector AVI
7.4. exercise
1. Go back Foto_Album.Dir movie we have made, give
transition effects on the frame which has been shown in Table 7.1.




Table 7.1. Frame, category and name of the transition.

Frame
Categories and name of the transition
26
Other > Random Rows
41
Wipe > Center Out, Horizontal
81
Wipe > Center Out, Square
121
Wipe > Edges In, Horizontal
185
Wipe > Random Column

2. Open the file Transisi2.Dir, insert effects Other> Push Down,
the transition channel on the frame 10.
a. In the options choose Affect Entire Stage, play the movie.
b. Replace a Changing Areas Only, played back.


What is the difference between the two options?
3. Fill out background noise such as music Foto_Album.Dir
Your favorite, imported as a link.
4. Is there any difference in sound icon on the cast members that are imported
by standard methods or links? What's the difference?
5. Explain what the advantages and disadvantages of the MOV video format and
AVI?