Virtual Theory of Machine Lab

Virtual Theory of Machine Lab
ABSTRACT
As the title suggest, the project work will be carried out on software. The project
work involves three major software 1) pro/e (2001 or 2003 wildfire) 2) 3dmax studio
3) VRML.
Pro/e will be used for modeling purpose, as pro/e is a parametric modeling
package, therefore modification in design as well as dimensions can be modified very
easily. It the most popular software used among engineers and designers. This project
enables us to acquire and master skills of pro/e that will be useful to us in our
professional carrier in our future.
We have planned to include basic mechanism of theory of machine subject. These
mechanisms are complex to understand and explain theoretically. This project work aims
at simulation of the mechanism, which will be quite easy to understand. We are
undertaking this project work for students of second 4th semester production engineering.
Concept behind the project: - The project aims at creating a 3d educational multimedia
for teaching learning process. The traditional multimedia in engineering involves 2d
graphics whereas this project aims at 3d graphics, which will be more realistic to real
mechanisms. VRML (virtual reality modeling language) is a plug in used on Internet
explorer to view the 3d models in their working condition. VRML also enables to display
the project on Internet so that anybody can access these models where the Internet is
available. This eliminates need of carrying CD ROM.
Beneficial from the project : We are developing this project for teachers/instructors /
lab assistance as well as students.
C.O.E & T, Ak ola. 1

Supporting literature to be studied: Following are the references, which will be most
useful for our project
1) LEARN VRML IN 21 DAYS BY: CHRIS MARRIN AND BRUCE CAMPBELL
2) THEORY OF MACHINE BY R.S. KHURMI
3) PRO/E WILDFIRE BY SHYAM TICKOO
Methodology experiment to be adapted: the project work can be distinguished by
three phases. 1) Modeling 2) simulation 3) viewing and interaction
Simulation is the most critical part of our project, which will be carried out in 3d-max
studio software. This software is used for animation purpose worldwide. The last phase
that viewing and interaction will be carried out in VRML.
Result expected: we will publish all the models on web in a form of small site on any free
web-hosting server. This site will contain selected the working models of theory of
machine with VRML software to down load. The web site will also explain in brief the
concept of project and profile of members of project. With the LCD projector facility this
project can be very well explained to group of students during expert lectures or in
classroom teaching. We will develop the output in CD form, which can be distributed to
the students.

ABOUT VRML
3D graphics are all the rage today. We see them everywhere: in video games,
advertising, even feature-length films. We have come to a point in history where we can
create completely synthetic worlds that exist entirely inside a computer's memory. These
worlds have been referred to in the popular media as "virtual reality," "cyberspace," or
"the metaverse." These terms are great for a science fiction writer in search of a new book
idea, but we are many years away from virtual worlds that are anywhere near the rich
detail of the real world. However, 3D graphics give us much more than the future
promise of virtual reality. They give us a powerful new tool for the presentation of
information, art, and entertainment. And while I don't think virtual reality will ever
overtake the real world, as so many science fiction movies would like us to believe, they
will add to our repertoire of creative outlets.
The World Wide Web adds an interesting new twist to the use of 3D graphics. In
the past, the presentation of art or information was limited to those who could get their
work shown in an art gallery, or to someone with access to a publishing house or
television studio. But, access to the Web is relatively inexpensive, so almost anyone can
communicate their ideas, as long as they know how to use the tools that turn their dreams
into reality.
VRML is the tool for creating 3D virtual experiences on the World Wide Web.
Even though it is in its infancy, VRML will allow you to realize your visions and make
them available to everyone on the Web.

The purpose of this book is to help you get started using VRML. VRML is all
about dynamic, moving experiences, so in the next seven chapters I will show you how to
add life to your worlds and how to give visitors the ability to interact with them. In the
last seven chapters, I will describe the most advanced features of VRML and show you
how to create full multimedia experiences, integrating 2D and 3D elements. VRML is an
exciting new development. It has been a lifelong dream of mine to be involved in
something with the potential to change the world in a very positive and fundamental way.
VRML is the realization of that dream for me.
VRML Background
The notion of 3D graphics has been very popular lately, from video games to
weather simulations to movies that give us a glimpse of virtual reality, complete with
virtual villains and cyberheroes. The World Wide Web has gained even more popularity.
Therefore, it is natural that people would want to join the two, marrying the compelling
experience of 3D to the global access of the Web.
VRML was born to solve just this problem: how to put compelling 3D onto every
PC connected to the WebD you'll explore the phenomenon of the World Wide Web and
how VRML was created to put interconnected 3D worlds onto every desktop.
# Why use 3D on the Web?
# A short history of VRML.
# Authoring VRML worlds.
# Tools and resources

The World Wide Web has grown from a curiosity on college campuses to a major
force in business in fewer than five years. It seems as though there is not a TV
commercial, billboard, or panel truck without the now familiar http://.... The Web is the
subject of jokes, talk shows, and articles in major magazines. You can buy wine and
movie tickets on the Web, see the latest shots from the space shuttle, and find out the
weather in any corner of the world, as long as you know the magic incantation,
http://www.weather.com/current/.
As with many of the inventions now taken for granted, no one knew what the Web
would become when it was first conceived. It started out as an easier way to browse text
pages on large computer databases. It was soon realized that some sort of text formatting
and the capability to add images to a page were crucihal to the successful presentation of
the information. Thus, the HyperText Markup Language (HTML) was born. An
outgrowth of publishing standards of the late 1980s, HTML is a simple text-based file
format with embedded commands (known as tags) to instruct the computer how to
display the information. For instance, surrounding a word with the tags <B> and </B>
causes that word to be displayed in bold. There are tags to distinguish between a heading
and body text, to center text, and to create bulleted lists, to name a few.
HTML also has a tag to embed images on a page, and it is here that HTML started
down die path toward full multimedia integration. Brochures, magazines, and other
printed material consist basically of words and images, with the occasional background
color to set off a VRML Background sidebar. With text formatting and embedded images,
HTML can handle most of this. But this is all static information, and because it is being

displayed on a computer screen, it is ideally suited to dynamic presentations with motion,
sound, and interactivity.
This interactivity is easy to find at information kiosks in malls and airports where
maps of the area and restaurant choices have been available for years. But these are all
custom installations, created for a specific purpose. The next goal of the Web became
bringing that richness of information presentation to every desktop,
A Short History of VRML
The origins of VRML date back to the middle of 1994, to a European Web
conference in which Tim Berners-Lee talked about the need for a 3D Web standard. He
coined the name VRML (Virtual Reality Markup Language) as an acronym to parallel
HTML. Mark Pesce picked up on this idea and was able to persuade Brian Behlendorf at
Wired magazine to start a mailing list called www-vrml.
The VRML mailing list was the seed from which a thriving community of artists,
engineers, and visionaries grew. The name was quickly changed to Virtual Reality
Modeling Language to reflect the emphasis on worlds rather than pages of text. This
group produced the VRML 1 specification in record time purely through e-mail
interactions. This was possible thanks in part to the fact that it was based on the Inventor
file format from Silicon Graphics. Inventor is a mature file format used everywhere from
universities doing research to animation houses doing special effects for movies and
television. A subset of Inventor was chosen that facilitated implementation on a wide
variety of platforms. Although this allowed several VRML browsers to be created, it also

crippled the language to a certain extent Inventor's advanced interaction and animation
capabilities were not included, so VRML 1 worlds were as still as a graveyard. So, before
the ink even had a chance to dry on the specification, work was started to bring life to
those Virtual worlds.
A small extension to VRML, called VRML 1.1, was tried. It contained facilities to
add audio clips to a scene and some very primitive animation. But because this was not
nearly enough to create compelling content, VRML1.1 never saw the light of day. The
VRML community set its sights on a major overhaul of the language and dubbed it
VRML 2.
The Requirements
Gavin Bell was the SGI engineer primarily responsible foj- introducing the
VRML community to Inventor. In thinking about 2, he conceived of three requirements
he deemed important for 3D Web content: composability, scalability, and extensibility.
Composability allows an author to create a virtual house, scale it down, and place
it on a tabletop. This table with the house model can then be placed in the office building
of a virtual architecture company. This building can be placed on a city block with other
buildings, which, in turn, can be placed in a city, which can be placed on a planet orbiting
the sun. In this composition, each piece is independent of the rest. The full-size house can
be placed on a residential street somewhere else on the planet because everything that
makes it a house, from the attic light that can be switched on to the door that opens to the
basement, is contained within the house model.

Scalability allows worlds of arbitrary size to be created. With VRML, it must be
possible to see a galaxy, zoom in on a star system, then to a planet, then a city, a block, a
park, a man sitting on a bench, and the mosquito sitting on his arm. This is difficult due to
limits in the precision of computer hardware, but it is important to prevent every world
from having arbitrary limits in size or detail.
Extensibility allows an author to extend the capability of the language to serve
special purposes. This allows, for instance, multiuser worlds to be created or new
geometric objects to be added to VRML.
Tools and Resources for VRML
How do you get started in writing VRML 2 worlds? First, you need a way to
display your work. CosmoPlayer from Silicon Graphics is included on the CD-ROM that
comes with this book. After installing it, you can view some of the VRML 2 worlds
included on the CD-ROM.
Installing CosmoPlayer
CosmoPlayer runs under Windows 95 and works with Netscape Navigator 2 or
3.0 or Internet Explorer 3.0. To install it, follow these steps:
1. Insert the CD-ROM into the drive.
2. Double-click My Computer.
3. Double-click on the CD-ROM icon.
4. Double-click on the icon labeled npcosmop.exe.
5. When the installation begins, follow the on-screen instructions. I

Basic VRML Concepts
Now that you understand how VRML relates to the Web, let me show you how to
create worlds of your own. You will be creating VRML yourself, so have Microsoft
WordPad or your favorite text editor ready. Give any VRML file you create a suffix of
.wrl. Then, as long as you have Netscape Navigator(or Internet Explorer) and
CosmoPlayer set up properly, you can just click your files and display your 3D creations.
2D versus 3D graphics.
2D Versus 3D Graphics
There is a big difference between 2D and 3D. Although this makes it harder to
work with 3D, it also gives 3D huge advantages over 2D. You can create a 3D world,
populate it with interesting objects, and then walk around that world using a 3D browser
such as CosmoPlayer. The only way to get similar motion using 2D is by using movies,
such as MPEG, or image-based formats, such as Shockwave from Macromedia. Both of
these techniques create huge files that are extremely slow to download over the Web, and
are not as flexible. The only viewing angle you have is the one the author has created for
you. With 3D and VRML, you can go literally anywhere in the 3D world. You can walk
up to a sign to read it, look over your shoulder to see where a sound is coming from, or
walk up a flight of stairs to go into a second-story office.
The compactness of 3D comes from the ability of the author to define objects as
skeletons, to be filled in by the computer rendering the image. For a 2D image, you must
define the color of every pixel on the screen. For 3D, you download the skeletal objects,

pick a vantage point from which to view them, and then let the renderer do the rest. In
VRML, the renderer can paint objects with 2D images. However, because they are
repeated, they can be small and reused on many objects. For example, an image of inlaid
stones could be used to represent a stone wall or a stone walkway. These images are
called textures.
As a VRML author, your job is to come up with an idea (often the hardest task of
any job), create the skeletal models to realize your idea, and then combine these models
into a VRML file. Once this is finished, you have created a virtual world.
The Future of VRML
This is an exciting time for VRML. Now new browsers are available, and the
current browsers will be more feature-rich and stable. But with the excitement also comes
frustration. Making compelling content is difficult when products are changing so fast.
But those who are now creating content will have some beautiful results a year from now,
according to my VRML crystal ball.
One Year Out
The most important change we will see in the next year will be the wide
availability of good-quality stable and compatible VRML browsers. With that will
naturally come the first batch of really exciting and rich virtual environments. There will
be game worlds, virtual shopping malls, and online museums. Some of these will be
created purely for pleasure; others will be proving that 3D on the Web can be a
compelling tool for business. When VRML catches the eye of the business community, its
growth, which is very rapid right now, will become extraordinary. The commercialization

of this technology troubles some, mostly from an artistic point of view. But while
business will use 3D to sell, it will also stimulate the availability of tools for content
creation and better hardware for browsing. This brings me to my next prediction: better
tools.
Some good tools for VRML authoring are available today. But many more are
needed. we believe that over the next year you will see 3D Web tools to fit every niche,
suitable for everyone from the professional graphics artist to the casual user. Forces are at
work outside the VRML community that are giving users a wider choice of platforms for
both browsing and creating Web content. Because of this, we believe that the new VRML
tools will be available on many kinds of platforms, using many new technologies such as
Java and HTML, to supply novel and flexible solutions to the problem of creating content
for the new rich medium of VRML.
Finally, It’s quite sure many interesting and sometimes bizarre applications for
VRML will be seen. You can already see historic sites, where you can view the
reconstruction of an ancient city, and sites showing what a decaying neighborhood will
look like after a proposed renovation. Of course, not all sites will have such high ideals.
Games will no doubt dominate VRML in the short term. A few holiday sites are popping
up, with fun experiences for Halloween, Christmas, or New Year's. Then there's the site
where you can create your own coffin, with a full 3D visualization. I'm sure the
technology will show much progress over the next year. But what about the next
milestone? What will happen in the next five years?

Five Years Down the Virtual Road
The way begins to get a bit murky this far down the path into the future. But
assuming that the Web grows at the expected rate, VRML should be quite embedded in
our everyday lives. WE mean that quite literally. Many manufacturers are talking about
placing computer hardware into television sets. Just plug the TV into the cable
connection and you have access to the world. It's hard to imagine the Internet surviving
such a crush of new subscribers. When 75 percent of the homes in the world are online,
the traffic of people talking, browsing, and exploring at all hours of the day or night will
be unimaginable. But these big problems will be solved as they always have been.
Necessity is the mother of invention, so someone will come up with solutions just in time
to avert a major world crisis!
This connectivity will be wonderful for VRML. With good 3D graphics hardware
available; free inside your TV set, everyone will be able to have rich virtual experiences
that, we can only dream of today. Five years is not quite enough time to make this
experience available to everyone, but the effort will have made great progress by then.
Multiuser virtual environments will be common, complete with lifelike, animated avatars
and the ability to walk up to someone, hand him a briefcase full of information, and chat
with him about the weather. Anyone with a few cyberbucks will be able to buy a little
homestead on this virtual landscape, and set up shop, or just create a fortress of solitude,
free from the noise and influences of the virtual city.
Business on the Web will be in full swing by then. You'll be able to have all your
cash online, so you'll be able to swing into the cybermall, try some new pants on your
avatar, and buy the pants with your cyberbucks. Back in the real world, your pants will

still take a couple of days to get to you, but you won't care because you'll be too busy
trying to be a corporate tycoon in a new, multiplayer business game.
But VRML and the Web won't be all high-tech fun and games. You'll be able to
cruise around a model of that new lodge in the National Park you've been wanting to
visit. That way, you can check out the view from various rooms before making a
reservation and travel plans to get away from the TV and spend some quality time
relaxing in the real world. Just like many technologies before it, such as the telephone
and the airplane, VRML, and the Web in general, will eventually blend into society and
become an ordinary tool. But it will be an amazingly powerful tool that will entertain you
when you want entertainment and help you when you need help.
The Distant Future
Looking out beyond five years is largely pointless. With developments happening
as fast as they are, something that we can't now imagine will surely come on the scene
and will completely change the landscape (both real and virtual). The only thing you can
say with certainty is that VRML is changing rapidly and, by all indications, will continue
to do so well into the future.
Questions & Answers
Q How can I keep up with all the changes taking place with VRML and other
virtual reality technologies?
No one can keep up completely nowadays. we recommend surfing the Internet to see
what all the top companies are up to. Open up your favorite search engine in your Web

browser and search on VRML and Virtual Reality. Also, read the online magazines
devoted to VRML. If you can, download the latest beta copies of each browser and take a
tour with them. Keep a list of the features of each browser. Spend some time thinking
about the algorithms required to make a browser work. Keep a link to the VRML
Consortium home page and other VRML-related organizations. And, by all means, go to
the conferences where all the best ideas are presented and discussed. You'll never run out
of things to think about, because VRML is involved in so many different disciplines,
including education, scientific visualization, communication, psychology, physiology,
anthropology, and entertainment, to name a few.
Q Why would I want to use 3D on the Web? Why would I need anything more than
the text and images that are already on an HTML page?
A The use of 3D on the Web has many great benefits. First, it allows a virtually infinite
amount of interactivity. Viewing an image of the outside of a house is not nearly as
interesting or informative as being able to walk through the front door and up to the
master bedroom to check out the view. Second, 3D is much more compact than either
images or text. They say that a picture is worth a thousand words. If that's true, a 3D
world is worth a thousand pictures. Finally, 3D gives an author a richer medium in which
to express ideas.

Q Why was VRML created from scratch, rather than from one of the existing 3D
formats?
A VRML does build on the Open Inventor file format from Silicon Graphics. Inventor
was intended to be a portable, cross-platform file format. Many other formats available
were either proprietary or insufficient to meet the requirements of VRML. This was true
because 3D had always been such a niche market that there was not enough of a need for
a standard file format. The Web changed all that, so VRML was created.

ABOUT 3D MAX
3ds max claims that "You bring the imagination. We'll bring the rest".
New Features
3ds max® software offers powerful new features designed to increase performance and
boost productivity
Industry-leading normal mapping tools: 3ds max animation technology includes all new
tools for creating normal maps and previewing the results in the viewport using DX9
shaders. Plus, 3ds max is now the first major 3D application to support normal maps in
the rendering process, allowing artists to add amazing detail while limiting the total
volume of geometry in a scene.
Performance: Stability and performance are critical issues to any 3D artist. 3ds max
technology continues to enhance stability while introducing numerous performance
enhancements, including the new TurboSmooth smoothing system, increased Viewport
speed, and a new Object Culling system that procedurally reduces the number of objects
displayed, keeping the focus on critical aspects of the scene.
What we learn by using 3ds max studio and by completing 3ds max course during
this project?
The 3ds max course incorporates the features, commands and techniques for creating and
animating 3D models and rendering scenes with hands-on exercises. The course covers
techniques for implementing various modeling methods, applying materials, placing
lights and cameras, and creating still and/or animated images.

Course Benefit:
Upon completion of the course, we become familiar with the 3ds max Interface.
 Understand the fundamental concepts and features of 3ds max.
 Create and edit models
 Define and apply materials •
 Place lights and/or cameras
 Create simple animations
 Render the still or animated scene
Course Pre-requisites:
No previous 3ds max experience necessary. However, basic knowledge of computers and
Windows operating system is needed.
Course Contents trough which the projectee gone:
Module 01 – Introduction to 3ds max
 3ds max interface
 Opening and saving scenes
 Creating versions of a project
Module 02 – Introduction modeling
• Creating primitive objects
• Selecting models
• Removing models from a scene
• Creating extended primitive objects
• Changing models parameters

• Basic rendering techniques
Module 03 – Modifying Models
• Transforming techniques
• Cloning techniques
• Modifiers
Module 04 – Creating 3D Models with 2D Shapes
• Creating 2D splines and shapes
• Modifying splines and shapes
• Extruding and Lathing
• Rendering shades
Module 05 – Materials
• Material Editor
• Defining and applying materials
Module 06 – Animation
• Lights
• Cameras
• Basic animation techniques
• Modifying Keys
Why this course?

3ds max is the world’s most widely used professional 3D modeling, animation and
rendering software.
It significantly improves connectivity, image quality, productivity, and content delivery.
It provides ability to create heightened realism through global illumination, exposure,
accurate physical controls and custom hardware support. This course helps to
conceptualize and communicate various color schemes and is highly user friendly to
frequent changes and add-ons.
Audience:
This course is intended for Designers, Drafters, Architects and professionals involved
with graphics and design. People in related roles can also benefit from taking this course.

ABOUT Pro/ENGINEER
Pro/ENGINEER provides mechanical engineers with an approach to mechanical
design automation based on solid modeling technology and the following features.
3-D MODELING
The essential difference between Pro/ENGINEER and traditional CAD systems is
that models created in Pro/ENGINEER exist as three-dimensional solids. Other 3-D
modelers represent only the surface boundaries of the model. Pro/ENGINEER models the
complete solid. This not only facilitates the creation of realistic geometry, but also allows
for accurate model calculations, such as those for mass properties.
PARAMETRIC DESIGN
Dimensions such as angle, distance, and diameter control Pro/ENGINEER model
geometry. You can create relationships that allow parameters to be automatically
calculated based on the value of other parameters. When you modify the dimensions, the
entire model geometry can update according to the relations you created.
FEATURE-BASED MODELING
Parametric modeling systems are often referred to as feature-based modelers. In a
parametric modeling environment, parts are composed of features (Fig.). Features may
comprise either positive space or negative space. Positive space features are composed of
actual mass. An example of a positive space feature is an extruded boss. A negative space
feature is where a part has a segment cut away or subtracted. An example of a negative
space feature is a hole.
Parametric modeling systems such as Pro/ENGINEER incorporate an intuitive
way of constructing features. Often, the feature is first sketched in two dimensions and

then either extruded, revolved, or swept to form the three-dimensional object. When
sketching the feature, design intent is developed in the model by adding dimensions and
constraining the sketch.
Features can be predefined or sketched. Examples of predefined features include
holes, rounds, and chamfers. Many parametric modeling packages incorporate advanced
ways of modeling holes. Within a parametric modeling package, predefined holes can be
simple, counter bored, countersunk, or drilled. Parametric modeling package hole
command allows users the opportunity to sketch unique hole profiles, such as may be
required for a counter bore. Sketched features are created by sketching a section that
incorporates design intent. Sections may be extruded, revolved, or swept to add positive
or negative space features.
Fig. : Feature in a model
Compared to Boolean modeling, feature-based modeling is a more intuitive
approach. In Boolean modeling, a common way to construct a hole is to model a solid
cylinder and then subtract it from the parent feature. In a parametric design environment,
a user can simply place the hole by using a predefined hole command or by cutting a

circle through the part. With most Boolean-based modelers, if the user has to change a
parameter of the hole, such as location or size, he or she has to plug the original hole,
then subtract a second solid cylinder. To adjust a feature-based hole, the user can change
any parameter associated with the hole by modifying a dimension or parameter. Similarly,
a feature's sketch can be redefined or modified.
You create models in Pro/ENGINEER by building features. These features have
intelligence, in that they contain knowledge of their environment and adapt predictably to
change. Each features asks the user for specific information based on the feature type. For
example, a hole has a diameter, depth, and placement, while a round has a radius and
edges to round.
ASSOCIATIVITY
Pro/ENGINEER is a fully-associative system. This means that a change in the
design model anytime in the development process is propagated throughout the design,
automatically updating all engineering deliverables, including assemblies, drawings, and
manufacturing data. Associativity makes concurrent engineering possible by encouraging
change, without penalty, at any point in the development cycle. This enables downstream
functions to contribute their knowledge and expertise early in the development cycle.
ENGINEERING GRAPHICS
The fundamentals of engineering graphics and the displaying of three-
dimensional (3D) designs on a two-dimensional surface have changed little since the
advent of CAD. Despite the explosion of advanced 3D modeling packages, many design
standards and techniques that once dominated manual drafting remain relevant today.

Sketching is an important tool in the design process. Design modeling techniques
using two-dimensional CAD, three-dimensional CAD, or manual drafting can restrict an
individual’s ability to work out a design problem. It takes time to place lines on a CAD
system or to construct a solid model. Sketching allows a designer to work through a
problem without being constrained by the standards associated with orthographic
projection or by the time required to model on a CAD system.
There are two types of sketching techniques: artistic and technical. Many
individuals believe that artistic sketching is a natural, inborn ability. This is not always
the case. There are techniques and exercises that engineering students can perform that
will improve their ability to think in three dimensions and solve problems utilizing
artistic sketching skills. Despite this, few engineering students receive this type of
training. When engineering or technology students are trained in sketching, it is usually
the technical variety. Technical sketching is similar to traditional drafting and two-
dimensional computer-aided drafting. This form of sketching enables a design to be
displayed orthographically or pictorially through sketching techniques.
The design process requires artistic sketching and technical sketching to be
utilized together. Conceptual designs are often developed through artistic sketching
methods. Then once a design concept is developed, technical sketches of the design can
be drawn that will allow the designer to display meaningful design intent information.
This information can then be used to develop orthographic drawings, prototypes, and/or
computer models.
The traditional way to display engineering designs is orthographic projection. Any
object has six primary views These views are used to display the three primary

dimensions of any feature: height, width, and depth. By selectively choosing a
combination of the primary views, a detailer can graphically display the design form of
an object. Often, three or fewer views are all that are necessary to represent design
intent. A combination of views such as the front, top, and right side will display all three
primary dimensions of any feature. By incorporating dimensions and notes, design intent
for an object can be displayed.
Orthographic projection is not a natural way to display a design. The purpose for
orthographic drawings is to show a design in such a way that it can be constructed or
manufactured. Pictorial drawings are often used to represent designs in a way that non-
technically trained individuals can understand. Pictorial drawings display all three
primary dimensions (height, width, and depth) in one view. There are many forms of
pictorial drawings, the most common of which are isometric, diametric, and trimetric.
Naturally, objects appear to get smaller as one moves further away from them.
This effect is known as perspective. Perspective is another form of pictorial drawing.
Orthographic, isometric, diametric, and trimetric projections do not incorporate
perspective. Perspective drawings are often used to display a final design concept that can
be easily understood individuals with no technological training. Before an object can be
manufactured or constructed, technical drawings are often produced. Technical drawings
are used to display all the information necessary to properly build a product. These
drawings consist of orthographic views, dimensions, notes, and details. Details are
governed by standards that allow for ease of communications between individuals and
organization.

PARAMETRIC MODELING CONCEPTS

Parametric modeling is an approach to computer-aided design that gained
prominence in the late 1980s. An assumption commonly held among CAD users is that
similar modeling techniques exist for all CAD systems. To users that follow this
assumption, the key to learning a different CAD system is to adapt to similar CAD
commands. This is not entirely true when a two-dimensional CAD user tries to learn, for
the first time, a parametric modeling application. Within parametric modeling systems,
though, you can find commands that resemble 2D CAD commands. Often, these
commands are used in a parametric modeling system just as they would be used in a 2D
CAD package. The following is a partial list of commands that cross over from 2D CAD
to Pro/ENGINEER.
LINE
The line option is used within Pro/ENGINEER’s sketcher mode (or environment)
as a tool to create sections. Within a 2D CAD package, precise line distances and angles
can be entered using coordinate methods, such as absolute, relative, and polar.
Pro/ENGINEER does not require an entity to be entered with a precise size. Feature size
definitions are established after finishing the geometric layout of a feature’s shape.
CIRCLE
As with the line command, the circle option is used within Pro/ENGINEER’s
sketcher environment. Precise circle size is not important when sketching the geometry.

ARC
As with the line and circle options, the arc command is used within
Pro/ENGINEER’s sketching environment. Pro/ENGINEER’s are command also includes
a fillet command for creating rounds at the intersection of two geometric entities.
DELETE
The delete command is used within a variety of Pro/ENGINEER modes. Within
the sketcher environment, delete is used to remove eometric entities such as lines, arcs,
and circles. Within Part mode, delete is used to remove features from a part. For
assembly models, the delete command is used to delete features from parts and to delete
parts from assemblies.
OFFSET
Offset options can be found within various Pro/ENGINEER modes. Within the
sketcher environment, existing part features can be offset to form sketching geometry.
Additionally, planes, within Part and Assembly modes can be offset to form new datum
planes.
TRIM
The trim command is used within Pro/ENGINEER’s sketching environment.
Geometric entities that intersect can be trimmed at their intersection point.
MIRROR
The mirror option is used within Pro/ENGINEER’s Sketch and Part modes.
Geometry created as a sketch can be mirrored across a centerline. Also, part features can
be mirrored across a plane by executive the copy option.

COPY
The copy option is used within Part mode to copy existing features. Features can
be copied linearly, mirrored over a plane, or rotated around an axis. Within Assembly
mode, parts can be copied to create new parts.
ARRAY
Polar and rectangular array commands are common components in 2D CAD
packages. Pro/ENGINEER’s pattern command serves a similar function. Features may
be patterned using existing dimensions. Selecting an angular dimension will create a
circular pattern.
Parametric modeling presents a different approach to CAD, especially when
compared to 2D drafting and Boolean-based 3D modeling. Oftentimes an experienced
CAD user will have trouble learning a parametric modeling package. This is especially
true when a user tries to approach 3D parametric modeling as he or she would approach
Boolean solid modeling. They use similar concepts, but the approaches are different.

ABOUT MECHANISM
The descriptions of mechanisms designed by us are given below.
1. SLINDING PAIR:
When two element of a pair are connected in such a way that one can only
slide relative to the other the pair is known as sliding pair.
2. TURNING PAIR:
When the two element of a pair are connected in such a way that one can
only turn or revolve about a fixed axis to another link the pair is called Turning pair.
3. CHAIN DRIVE:
The chain drives are mostly used to transmit and power from one shaft to
another shaft when the distance between the center of the shaft is short.
4. CAM WITH OFFSET FOLLOWER:
A cam is a rotating machine element which gives reciprocating or
oscillating motion to other element known as follower and when the motion of the
follower is along an axis away from the axis of cam centre. It is called off set follower.
5. SCREW PAIR :
When the two elements of a pair are connected in such a way that one
element can turned above the other by screw thread. The pair known as screw pair.
6. FRICTION DISC :-
The friction disc running without slip and toothed gearing are identical by
you to the Pomibility of plexping of disc, are friction disc can only used for transmission
of small power.

7. BAND BLOCK BRAKE: -
The band brake may be lined with blocks of wood are other material the
friction between the block and drum provide to breaking action.
8. EPICYCLOID GEAR: -
The epicycloid gear are useful for transmitting high velocity ratio with
gear of moderate size in a comparatively lesser space. The epicyclic gear are used in the
back gear of lathe. In Epicycloid gear one gear is fixed and another gear is forced to
rotate upon the another gear.
9. OLDHAM'S IS COUPLING: -
An oldham's coupling is used for connecting to parallel shaft whose axes
are at smaller distance apart. The shafts are coupled in such a way that if one shaft
rotates, the other shaft also rotates at the same speed.
10. INTERNAL EXPANSION BRAKE: -
An internal expanding brake consist of two shoes. The outer surfaces of
the shoes are linked with some friction material to increase the coefficient of friction and
to prevent wearing away of the material.
11. CYCLOTIAL GEAR:
In this a curve is traced by a point on the circumference of a circle, which
rolls without slipping on a fixed straight line. When circle roll without slipping on the
outside of a fixed circle the curve traced by the point on the outside of a fixed circle is
known as epi-cycloid and if it rolls inside the circumference of circle is called hypo-
cycloid.

12. WHITWORTH QUICK RETURN MECHANISM :-
It is an inversion of single slide crank chain. This mechanism is mostly
used in shaping and slotting machines.
13. OSCILLATING CYLINDER MECHANISM: -
It is also an inversion of single slider crank chain. This mechanism is used
to convert reciprocating motion into rotary motion.
14. SINGLE STAGE HELICAL GEAR: -
A helical gear has teeth in the form of helix around the gear. Two such
gears may be used to connect two parallel shafts in place of spur gear. The teeth of
helical gears with parallel axis have line contact, as in spur gearing. This provides
gradual engagement and continuous contact of the engaging teeth. Hence helical gear
give smooth drive with a high efficiency of transmission. In case of single stage helical
gear, there is some axial thrust between the teeth, which is a disadvantages. In order to
eliminate this axial thrust, double helical gears are used.
15. CAM WITH KNIFE EDGE FOLLOWER :-
When the contacting end of the follower has a sharp knife edge, it is called
a knife edge follower. The sliding motion takes place between the contacting surfaces.
In knife edge follower, a considerable thrust exist between the follower and the guide.
16. CAM WITH SPHERICAL FACED OR RECIPROCATING FOLLOWER: -
When the contacting end of the follower is of spherical shape, it is called
a spherical faced follower. It may be noted that when a flat faced follower is used in
automobile engines, high surface stresses and produced in order to minimize these

stresses. The flat end of the follower is machined to spherical shape. When the follower
reciprocates in guides as the cam rotates uniformly it is known as reciprocating follower.
17. SINGLE SHOE BRAKE: - It consist of a block or shoe which is pressed against the
rim of a revolving brake wheel drum. The block is made of softer material than the rim
of the wheel. This type of brake are commonly used on train and tram cars.
18. BEVAL GEAR: - The two non parallel or intersecting but co-planer shaft connected
by gear. These gears are called beval gear.
19. SPIRAL GEAR :- Spiral gear are used to connect and transmit motion between two
non parallel and non intersecting shaft. The pitch surface of the spiral gear are cylindrical
and the teeth have point contact.

NEED OF MULTIMEDIA IN EDUCATION
At first sight, interactive multimedia should offer the same benefits to
school pupils as it does to adult trainees. Lessons can be structured to individual
requirements, students can control their rate of learning and retention rates can be
increased. Interactive videodisks have been used in European schools since the early
1980s. The first and best known project in the UK was the BBC's Domesday system -a
set of two disks that contained data on the life of the United Kingdom in the 1980s. An
optical disk player was developed, together with the Laser Vision ROM (LV-ROM)
format for interactive videodisks.
Despite this early interest the use of multimedia in schools remains low. The costs
of hardware and software have been a deterrent. Early government-funded programmes,
such as the Interactive Video in Schools (IVIS) project sponsored by the Department of
Trade and Industry, have probably caused more harm than good by encouraging schools
to invest in platforms that are now outmoded. More recently there have been government-
sponsored programmes in France, Spain and the United Kingdom to get CD-ROM drives
into schools. The National Council for Educational Technology (NCET), a government-
funded body which promotes technology in education, is enthusiastic about the use of
CD-ROM and multimedia to give pupils access to source material, such as newspapers
from a particular period, so that they do not have to rely on opinions of teachers or text-
books. However, the plethora of different compact disk formats will continue to confuse
and dismay would-be purchasers.

In American schools videodisks are seen as a source of information, to be
used with a remote control unit or bar-code reader to control the player, instead of a
computer. This approach allows teachers and students to create and use interactive
workbooks in the classroom, whilst avoiding the expense and complexity of the European
systems.
a)_New developments in distance learning
Distance learning reverses the normal approach to training. Instead of the
trainees traveling to a training centre to meet the trainer, the training is brought to the
trainees who are remote from the trainers and source of training materials. Distance
learning courses are based on text, supported by a wide range of other media - audio- and
videotape, radio and TV broadcasts - and occasional meetings with tutors. In future wide
area communications will also be used to give students on-line access to their tutors.
The teaching of surgery - like many branches of medicine - is heavily
dependent on conveying visual information. One pilot project is designed to use facilities
at University College London to enhance the teaching of surgery at other hospitals. Super
JANET is used to relay surgical demonstrations from the operating theatre and clinical
demonstrations from the lecture hall. The project is also exploring ways to enhance
existing courseware in a distance learning environment.
b) The Multimedia Teleschool
The CEC is encouraging the growth of training in Europe through the
DELTA (Developing European Learning Through Technological Advance) programme.

DELTA II has an emphasis on market-oriented projects. One of these is the Multimedia
Teleschool (MTS) for European personnel development, whose aim is to develop a large,
complex and realistic scenario for the application of advanced telecommunications
technologies in corporate training.
The MTS project will merge traditional distance training techniques with
telematics (the integration of computing and telecommunications technologies). Its first
phase was based on existing telecommunications technologies - public networks and
direct broadcast by satellite (DBS). For example, the Berlitz Teleschool project runs a
course in English for telecommunications. A computer conferencing system on the host
computer in Berlin delivers a series of regular study letters to each student's personal
computer at their workplace. Students use the same system to return completed
assignments to their tutors. This is supplemented once a fortnight by a live satellite
broadcast by a panel of experts. The participants in their workplaces are linked with each
other and with their tutors. Questions and contributions are sent on-line by the students to
the tutors, who either respond online or pass them on to the experts at the TV studio.
Students benefit from being able to communicate with fellow students and experts
throughout Europe. In the second phase of MTS these facilities are being extended to
include basic rate ISDN to support facilities such as:
 A direct connection between the tutor's computer and that of the student for
interactive remote tutoring;
 Videoconferencing between the tutor and students at different sites for interactive
distributed learning;

 Delivery of CBT packages onto the corporate LAN via a training, delivery and
administration server;
 Remote distance control of local resources such as CD-ROM on end user
machines.
The result will be a computer-mediated multimedia
communication system with voice, images, video and data annotation. Students will be
able to interact with their tutor and with each other.
RUNNING PRO/ENGINEER WITH DEFAULT SETTINGS
The best way to learn Pro/ENGINEER is to run the product
using the default settings installed on your system. Once you are familiar with the ways
these defaults operate, you can easily change them according to your needs. In this
section you will learn how to start Pro/ENGINEER from the operating system and from
the Application Manager, retrieve an object, and save your work when you exit
Pro/ENGINEER.
Later sections in this chapter provide detail on how to use the Application
Manager, Model Tree, and startup configuration options to customize Pro/ENGINEER.

CONTENTS OF CD
 Project Report
 Virtual Models
 Seminar Reports of Projectees.
 Troubleshooting
 Information about projectees.
 Information about guide.
 Information about expert guide.
 Information HOD.

STORAGE
CD-ROM Tutorial
CD-ROMs are one of the most commonly used mediums for transporting
and transferring software from computer to computer. CD-ROMs are an essential part of
a computer as well as a great tool for use in educational settings.
In this tutorial, you'll learn a little bit about CD-ROMs:
• What is a CD-ROM?
• How to use a CD-ROM?
• What can a CD-ROM offer education?
To examine a topic, click on one of the links below. When you finish with
a section return to this Table of Contents.
What is a CD-ROM?
A CD-ROM is a computer peripheral or attachment that is used to read
CDs (compact discs). CD-ROM stands for Compact Disc - Read Only Memory.
There are basically 2 types of CD-ROM drives:
1. Internal CD-ROM Drives. These drives are placed inside
the case of your computer.
2. External CD-ROM Drives. These drives are placed outside
of your computer and are connected to your computer via a
cable. External CD-ROM drives resemble portable CD
Players, such as those available for cars.

There are no functional differences between internal and external CD-
ROM drives. The major difference between the two is that of portability. The external
CD-ROM drive you can unplug and take it with you. The internal one would require you
to dismantle your computer and remove the drive in order to move it from one computer
to another. The other major difference is in the price of the two different models. External
CD-ROM drives cost slightly more than the internal ones.
As mentioned earlier, CD-ROMs are the now the easiest vehicle for
transporting computer files and software. CD-ROMs are continuously being improved
upon; the main improvement involves the speed of the CD-ROM drive. The first CD-
ROM drive released was a Single Speed (1X) Drive. Soon after its release the Double
Speed (2X) CD-ROM Drive was released. Currently there are Fourteen Speed (14X) CD-
ROMs available, as well as Multiple CD-ROM drives also known as CD Changers. CD
Changers are very similar to multiple CD audio players. A CD Changer is a CD-ROM
drive that can hold more than one compact disc. There are currently 4 - 6 - 12, & 16 Disk
CD Changers on the market, although the price on the newer models is quite steep.
A CD Changer is a CD-ROM Drive that can hold more than one CD. CD
Changers can hold anywhere from 2 to 16 different CDs, but can only access one CD at a
time. These drives are best used in a network setting in which you partially install several
programs on a server that require the CD to be present in order for the program to
function. This will allow users to access a main server and use whichever program they
need at the time. This allows users to free up personal Hard Drive space that is being used
to store large software programs.

Advantages of CD-ROMs
1. CD-ROMs have many advantages over other disk drives such as:
2. A CD-ROM Drive can read both computer CD's as well as Audio CD's. (A
Special "player" application is needed to preform this function.)
3. Newer Computer Programs are being released on CD's that will work on both
IBM and Macintosh platforms.
4. A CD can hold up to 650 Megabytes, newer CDs can hold up to 1.2 gigabytes, of
data compared to 1.44 megabytes of data on a floppy disk. This is approximately
250,000 pages of text.
5. Data stored on CD-ROMs can't be altered or deleted.
6. CD's are generally safe from computer viruses.
7. Data stored on a CD is digital versus analog data on Laser discs, thus picture and
sound quality are increased as well as the amount of data that can be stored.
8. Quality of data on a CD is better than other tyes of storage media.
Disadvantages of CD-ROMs
1. CD-ROMs can pose problems to users as well, such as:
2. CD-ROM drives are about 10 - 20 times slower than a Hard Drive.
3. CD-ROM drives and Compact Discs are more expensive than other disk drives
and other storage media.

How to use a CD
A CD can hold up to 650 Megabytes of data; a vast amount compared to
standard diskettes. In order to run the programs from a CD most of them require you to
install at least part of the program. This usually consists of movies and sounds as well as
other required files. This helps increase the speed of the program. Movies and sounds can
play faster and clearer from a hard drive than from a CD-ROM drive.
When you install a software program, you generally have a choice of how to install the
program. These choices are:
1. Minimal - Installs only those files that are absolutely necessary to make the
program function.
2. Recommended - Installs movies, sounds, and other files that the Manufacturer
believes will help the CD run.
3. Full - Installs most of program to your hard disk. This installation will usually
help the program to perform at its best, but will use a larger amount of disk space.
The only differences in these 3 types are related to the speed and
performance of the program. When installing the program, choose the setup that will
most benefit your needs. (e.g., - If you only have a 400 megabyte hard drive, it would not
be recommended to perform a full installation of a CD.)

Installation
To setup or install a CD to your hard Drive, you will follow the same basic
commands that you would follow to install any other software. To install a CD Program
on an IBM or Compatible Machine running Windows Version 3.x follow these steps.
1. Insert the CD into your CD-ROM drive.
2. From the File Menu click Run.
3. Browse to the CD-ROM Drive, and select the Installation File located on the CD.
(usually called Setup or Install).
4. Then follow the directions the program displays.
To install a CD Program on an IBM or Compatible Machine running
Windows Version 95, follow these steps.
1. Insert the CD into your CD-ROM Drive.
2. Click the Start button.
3. Select Run.
4. Browse to the CD.
5. Click the Installation File (usually Setup, or Install).
6. Follow the directions the program displays.
NOTE - On many CD's that are used with Windows 95, there is a special feature installed
on the CD, called the autorun feature. The autorun feature automatically brings up a
window for that CD. In this window are usually 3 prompts:

1. Install the program. - This will take you through the Installation Procedure.
2. Run the program - This will run the program if it has already been installed.
3. Exit or close the window - This will close the window and return you to your desktop.
To Install a CD Program on a Macintosh Computer follow these steps.
1. Insert the CD into the CD-ROM Drive.
2. Wait for the CD Icon to appear on the Desktop. Double click the CD icon.
3. From the CD window click the Installation File and
4. Follow the directions from the program.
One thing that you will probably want to remember is that most CDs
require you to have the CD in the CD-ROM drive when you run the program, especially
those programs that have not been fully installed.
Using CD-ROMs in the Schools and colleges.
CD-ROMs have many possibilities that benefit students and teachers.
There are many educational programs and educational utilities currently available on
Compact Discs that may be used in the calssrom. Many items (programs, files, pictures,
etc.) that were too large to be put on a disk or too large to be replicated on multiple
machines are now available on a Compact Disc.

Educational uses of CD-ROMs
Databases Encyclopedias Simulations

The CIA World Factbook Encarta The Magic School Bus
Grollier's Encyclopedia SIM Earth
Encarta SIM Planet
Brittanica Encyclopedia SIM Isle
Information & Investigative

Interactive Story Books Instructional Software
Software
Just Grandma & Me Carmen SanDiego Dinosaur
How the Leopard got his
Oregon Trail Oceans
Spots
Math Blaster Dangerous Creatures
There are literally hundreds of educational titles available on CD-ROM.
These titles are just some examples of CDs that you might use in your classroom. The
following sites may be helpful in learning about and finding more information about CD-
ROM titles that are currently available.
Compact disk-read-only memory (CD-ROM)
CD-ROM is an extension of the CD-DA technology that can support up to
550 MB of pre-recorded digital data. A standard for CD-ROM - known as the Yellow
Book - was announced by Philips and Sony in 1985. Mode I is for computer data. Mode 2

is for compressed audio data, image and video data. CD-ROMs (identifiable by the words
'data storage' beneath the logo) are best suited for the storage of text, but can support still
image, graphics and audio if these are used separately - it is not possible to have
commentary over pictures, for example.
CD-ROM is operating system dependent - different versions are required
for MS- DOS and the Macintosh, for example. The directory format is covered by an ISO
standard (IS 9660) - formerly known as the High Sierra standard. Level One is similar to
an MS-DOS file system, with restrictions on filenames and directory names. Level Two
allows longer filenames, up to 32 characters, whilst retaining many of the other
restrictions. Level Two disks are not usable on some systems, particularly MS-DOS.
Most CD-ROMs intended for the Macintosh are created in the Hierarchical Filing System
(HFS) format, which is unrelated to High Sierra and IS 9660 formats.
CD-ROM is an economic medium for the publication and distribution of
information. CD-ROMs are usually made by specialist companies who will make a
master and then use that to duplicate the disks.
Microsoft, Philips and Sony. It supports simultaneous text, still image and
audio together with some motion video - partial screen, 15 fps. A supplement to the
Yellow Book published in 1991 defines the CD-ROM XA standard, including a new kind
of track that may interleave Mode 2 compressed audio and Mode 2 data sectors.
Additional hardware is needed to separate these when playing the disk. The hardware is
programmed to separate the audio from the data, decompress the audio and play it out
through the audio jacks. At the same time, the hardware passes the data to the computer.
It requires a Mode 2 CD-ROM drive and upgrade card.

CD-ROM XA is the link between the workstation environment supported
by CD-ROM and the consumer environment. It uses the same sound formats as CD-I
(ADPCM levels B and C), but different graphics formats and operating systems. A
special kind of CD-ROM XA bridge disk - Karaoke CD - was developed jointly by
Philips and JVC. These disks can be played on a dedicated Karaoke CD player or on a
CD-I player equipped with a Digital Video cartridge. This concept was developed further
in the White Book specification for Video CD, another CD-ROM XA bridge disk. These
disks, typically containing films or music videos, can be played on a dedicated Video CD
player, on a CD-I player equipped with a Digital Video cartridge or on a computer
equipped with the appropriate hardware and software. The Video CD standard is
supported by Philips, JVC, Sony and Matsushita. Both Karaoke CD and Video CD
support FSFM video with CD-quality audio, using the MPEG-I compression standard.
Compact disk-interactive (CD-I)
In June 1987 Philips, Sony and Matsushita published a new standard, the
Green Book, for CD-I - a self-contained multimedia system based on compact disk and
compatible with existing CD audio technology. At its launch CD-I supported text,
graphics, four levels of audio including CD-DA, still video and partial screen video.
Support for FSFM video to the White Book specification can now be provided by
equipping the CD-I player with a Digital Video cartridge. CD-I is a self-contained
computer system, with its own processor unit based on the Motorola 68020, with specific
video, audio and control hardware and a CD drive. It runs a real-time, multitasking
operating system called CD-RTOS, based on the OS-9 operating system from Microware.
A standard TV display is used for output. CD-I is a consumer product, aimed at repeating

the success of CD-DA, so a CD-I disk will play on any CD-I player anywhere in the
world. All CD-I players can play CD-DA disks and CD-I disks can contain CD-DA
tracks.
A variety of players, designed for different markets, are available from
Philips and Sony. These include:
 Consumer players such as the CD-I 220 are intended for home use and are sold
through retail outlets;
 Professional players such as the CD-I 360 have specific features, such as
This topic stars by outlining the real and potential uses of video. Current
use is largely confined to audiovisual material stored on analogue videodisk and played
back as part of training or POI/POS applications. In future real-time video
communications will be available on personal computers. The chapter then goes on to
describe the technology and components that are required to capture and compress video
images, including conversion to and from broadcast TV standards. It closes with a review
of the most important international standards: the H.320 family for audiovisual telephony
and MPEG for stored audiovisual applications. Proprietary techniques such as DVI are
also included.
# AUDIO FILE FORMAT
This project outlines some of the uses of audio in multimedia applications.
It then describes the requirements for music and speech, together with an explanation of
the methods used to capture and encode audio. The chapter closes with a review of the
international standards that are relevant to audio telephony and audiovisual applications.

Audio applications
The audio side of multimedia has attracted relatively little attention in the
computer industry. This is partly because of the massive publicity devoted to video. It
may also be because the use of audio in business information systems is not clear. The
existing multimedia platforms that support audio seemed designed for the entertainment
market. Despite this neglect, audio clearly has an important role in multimedia
applications. Special effects, such as music and voice, can be added to applications,
especially training and point-of-sale or point-of-information systems. A voice
commentary can be used to narrate what is happening on-screen or to highlight and
reinforce key concepts. Combined with still pictures or animations, it can be used to
explain an idea or a process to the user in a more effective way than text or graphics
alone. Music can be used to attract customer attention or to create a particular mood.
A huge volume of audio material already exists on records, tapes and
compact disks. However, almost all of this will require copyright clearance before it can
be used. Existing legislation such as that covering performing rights for music that is
played in public areas may be unsuitable for new multimedia applications. A point-of-sale
system, for example, might contain a large number of short musical extracts. It would be
difficult and very costly to identify when each extract was played and make the requisite
royalty payments. Libraries of sound clips can be purchased, free of copyright, for such
applications. However, application developers may prefer to generate their own audio
material.

In some specialised areas audio on its own may form the core of a
multimedia application. One such example is the provision of systems to help visually
handicapped people. A recent project involved the downloading of a daily newspaper to a
special terminal in the user's home. Here he or she could choose to listen to a speech
processing system read selected articles aloud or have them displayed in a large typeface
on the monitor.
As costs come down and the technology improves, interest in using speech
processing and recognition in more general business applications will increase. It is
already possible to use simple commands to control a computer as part of the user
interface.
Audio capture
A sound digitiser is used to capture and digitise analogue sound from
audiotape, cassettes, records, CD-ROM and the original audio version of compact disk
known as CD-DA (compact disk-digital audio). Alternatively original music can be
recorded using a microphone or composed on instruments that are attached to the
computer through a MIDI interface. Once captured, audio is then stored on hard disk or
optical media and can be edited and played back through speakers connected to the
computer or through a headset. Many computers are now equipped with built-in sound
processors and speakers. However, externally powered speakers will provide higher
sound clarity and volume. They will be needed if the audio source is a separate compact
disk drive that needs to be attached to speakers and cannot play through the computer.

Music on the computer
A variety of tools are available to support musicians who want to compose
and edit music using a multimedia system. These include sequencers, which record MIDI
information rather than sound. This information can then be edited and sent back to the
MIDI instruments for playback.
MIDI
Musical Instrument Digital Interface (MIDI) is an industry-standard
connection for computer and digital control of musical instruments. It provides a way to
record, play back and synchronise the settings needed to control sound-producing
devices.
Speakers
Digitise
Computer
Source
Fig. Configuration for sound system
MIDI coding is also used in some multimedia editing and control systems.
MIDI includes standards for the hardware itself (for example, the cables and connectors)
as well as for the electronic information in the form of MIDI messages that are sent from
one device to another. A computer with a MIDI interface can be used to control other

MIDI-compatible devices through a MIDI port - a five-pin connection socket built into a
device for connecting MIDI cables. There are three types of port: MIDI In receives data,
MIDI Out sends data and MIDI Thru relays data without reading the message. The device
also requires a microprocessor that is able to send and receive MIDI messages. These
communicate musical events such as note-on/note-off or the pitch bend of a note. All
systems must have at least one MIDI port with MIDI In, Out and Thru.
Voice on the computer
The use of voice is likely to be far more important than music to most
managers who want to develop multimedia information systems. Until recently this was
not well catered for by suppliers. Suitable adapters and software are now available from
several suppliers including Apple, Microsoft and Creative Labs. The Windows Sound
System, for example, consists of a 16-bit audio card, microphone, headphones and a
software application that Is designed to support business audio. It includes voice
recognition (so that the user can teach it to recognise commands), voice synthesis, and
support for importing sound clips into applications that make use of OLE. It also allows
users to synchronise audio with digital video.
Speech recognition technology, once used mainly by people who were
unable to type due to physical disabilities, is now closer to being of practical use in the
office. IBM has started to ship its Personal Dictation System for OS/2. In addition to
supporting dictation at around 70 to 100 words per minute for text input, the system can
be used to control the functions of the computer system and its applications. It
can be trained to recognise the voice of an individual speaker uttering simple commands
such as 'save file' and 'close window'. If speech recognition is to be used in business

applications, then good acoustic conditions will be required to reduce ambient noise.
Success rates are also affected by factors such as the size and composition of the
vocabulary used, the attitude and speaking style of the user, and the type and placement
of the microphone. Suitable applications are those that require relatively limited
vocabularies in a quiet environment. They include inspections, sorting and visual
monitoring where hands- free operation is required.
A quiet environment will also be required for the use of video PCs in the
office. Traditional videoconferencing equipment supports full duplex audio without echo.
Picture Tel's IDEC technology, for example, adjusts the audio to maintain maximum
sound quality without recalibration, allowing participants to move around the room. An
enhanced version is provided in the company's video PCs, designed to suppress unwanted
background noise from air conditioning or fans in PCs.
Compression
As human beings are more sensitive to variations in the quality of sound
than in the quality of image, multimedia systems will be required to support high
standards for audio. Techniques to encode audio information are already well developed.
Sound consists of pressure differences in the air. A microphone picks up these differences
and feeds them through an amplifier. This analogue signal is first digitised using an
analogue to digital converter (ADC). The computer samples the input waveform at
regular intervals and converts the amplitude to a binary code, using pulse code
modulation (PCM).
For speech the audio signal is sampled at 8 kHz (i.e. 8,000 times per
second) and 8 bits - representing 256 different amplitude values - are used to code each

sample. The technique of limiting the number of values in this way is known as
quantisation. This method of encoding will generate a stream of 64,000 bits per second
(written as 64 Kbit/s), which needs to be put into packets for transmission over a
network. For music of the quality provided by compact disk, the signal is sampled at 44.1
kHz (i.e. 44,100 times per second) and 16 bits are used to code each sample. In stereo this
will generate a stream of 1.4 million bits per second (Mbit/s). Further compression can be
achieved by suppressing silences or by better methods of coding:
1. Non-linear PCM assigns the amplitude value points non-linearly. For example, a
logarithmic scale can be used to assign codes more sparsely at the maximum
amplitudes and more densely near the zero-crossing point.
2. Differential PCM (DPCM) encodes the differential of the signal instead of the
signal itself. The range of differentials is usually smaller than the range of
amplitudes.
3. Adaptive DPCM (ADPCM) dynamically adjusts the range of amplitude values to
match the expected range of amplitudes in the input data stream.
# VIDEO FILE FORMAT
Applications
The launch of audiovisual applications on personal computers has
attracted much attention. The use to which this technology will be put in the future is

rather less clear, although some early experiments point the way. We can think of video
applications in two groups: playback of stored audiovisual material and real-time
audiovisual communications.
The first group is well established. Training applications based on
interactive videodisk have incorporated analogue video sequences as a standard
technique. Public information systems also incorporated video clips, often as a way of
attracting the attention of the user. The use of digital video in networked systems is still
restricted by the technical problems of transferring large volumes of time- dependent
data. Possible applications include the use of servers to hold libraries of
Audiovisual communications may be one-to-one, as for example in a
meeting between two people, each of whom has a videophone or video camera mounted
on a personal computer. Compared to conventional videoconferencing equipment, these
personal video systems seem rather limited. The combination of a small image (a window
on a 14-inch monitor), low resolution and relatively slow frame rate means that current
products are unlikely to satisfy users' requirements for lengthy face-to- face 'meetings'
such as recruitment interviews where eye contact and body language are important. They
could, however, be successfully used in situations where the discussion involves other
forms of interaction. For example, a sales director might wish to contact sales executives
in different cities. Each executive could display the latest forecasts on the computer,
using a shared workspace. The quality of the video links is of secondary importance in
this case.
Real-time video communications may also be one-to-many. In this case
only one person has a video camera; everyone else receives the video on their computers,

as in a live broadcast. This latter approach is suitable for internal company
communications - the company President's Christmas message, for example. More
importantly it can form a part of a distance learning project. For example, in a university
programme for US high schools that use personal computers for teaching the fine arts, the
instructor can talk to students on remote locations via a real-time video link, as well as
showing them still images of paintings.
Video capture
Converting video for the computer
Conventional broadcast TV, audio and video signals are analogue, whilst
computers handle digital information. Multimedia systems need to be able to handle
information in both analogue and digital forms, because:
1. Analogue video and audio signals may need to be converted into digital form so that
they can be manipulated more easily.
2. Applications developed on computers may need to be converted back into analogue
form for playback - from videotape, for example.
3. Analogue and digital forms may be combined in one application, as when a live
television broadcast is run in a window on a computer screen, for example.
Conversion between analogue and digital video presents a number of
technical difficulties. The situation is complicated by the different and incompatible
standards that have been adopted by the different industries involved.
A TV screen may look superficially like a computer screen but it differs in
a number of important ways. Most computers and some video systems use a component

signal made up of three basic colours - red-green-blue (RGB) - that are individually
controllable. Broadcast TV and most video systems use a composite signal in which
luminance (brightness) and chrominance (colour), together with synchronisation
information, are combined into a single signal. A decoder is needed to change a
composite signal from a video source into an RGB signal for display on a computer
screen.
A complete image in a sequence of moving film or video is called &
frame. In most broadcast video, the screen is interlaced. Two sets of alternating lines are
broadcast. Even-numbered lines are drawn at one pass, odd-numbered lines are in a
second pass. This allows an image to be broadcast at comparatively low frame rates (25-
30 fps) without excessive flicker. The eye averages similar values so the image remains
clear. Computer screens, in contrast, are non-interlaced - video lines are presented
sequentially. To compensate for this, frame rates are faster - 66.7 frames per second (fps)
for the Macintosh, for example.
Video resolution varies between broadcast standards - 625 lines for the US
standard (NTSC) or 525 lines in Europe for the PAL and SECAM standards. In contrast,
a computer with a VGA screen has a resolution of 640 x 480 pixels, with a 256-colour
palette. On a television set the picture is extended to fill the entire screen, known as
overscan, so that part of the picture at the edges is lost. Computer screens use underscan,
in which the entire picture is visible, surrounded by a black border.
So conversion from analogue to digital video requires a decoder to convert
a composite video signal to an RGB signal and a scan converter to accelerate interlaced
video for a non-interlaced computer screen. In addition if computer graphics are to be

combined with the video signal, a synchronisation generator lock (genlock) will be
required to combine the two. This allows the system to set its timing to match the timing
of the video signal.
Creating videos on the desktop
The market for video adapters and related equipment has evolved rapidly.
Each generation of products is swiftly overtaken by the next, as compression methods are
improved, whilst at the same time proprietary techniques give way to developing
international standards.
Video overlay boards
The first generation of adapter boards provided overlay and genlock
facilities - the ability to combine broadcast quality analogue video with computer-
generated text and graphics. They were designed for use with videodisk players. It was
possible to mask part of the video image on-screen, so that the remaining part appeared to
be playing in a window, surrounded by text. However, the image itself could not .be
manipulated - its size and position thus remained constant.
Digitisers
These were followed by a range of digital video capture devices (digitisers
or frame grabbers) that could be used to accept PAL or NTSC signals from a videodisk
player, video cassette recorder or video camera, and digitise them. Single frames could be
'grabbed' and stored as still images. Some of these adapters could provide real-time
manipulation of the video image, including the ability to change its size, position,
brightness, saturation, contrast sharpness and hue. A full screen of video could be scaled
to any size and placed anywhere on the screen, within a window if desired.

Compression boards
In 1989 Intel introduced a new proprietary compression technology for
audiovisual applications called DVI. Intel itself supplied both processors and adapter
boards for real-time compression and decompression. These compressors can take a data
stream from a digitiser board, compress it and store it on hard disk in real time. Other
suppliers brought out adapters of their own, using Intel's processor set. More recent
products support the emerging international standards for image compression, JPEG and
MPEG. Although JPEG is essentially a standard for still images, in practice it has proved
to be popular for compressing motion video. This is because each frame is compressed
separately, thus making frame-by-frame editing much simpler. Several suppliers sell
adapters that support motion video to the JPEG standard (known as Motion JPEG) with
synchronous audio.
Display
Digitiser
C.O.E & T, Ak ola.

Computer
Sources 57
Fig. Configuration for video system
TROUBLESHOOTING
1) CD not play
Remedy : Clean the lens of your CD Rom, writer or DVD Rom with the help of
lens cleaner CD.

2) You cannot hear Sound or Music.
Remedy : Check that your sound card is properly installed. Check whether the
speaker are powered on an adjusted to audio able level.
3) Unable to see VRML Models
Remedy : Install VRML plug in provided in the CD. Restart your computer and
then try again.
4) Unable to see the complete page of multimedia
Remedy : Your text size may not be adjusted properly to display the whole page.
Goto view menu. View >> Textsize >> Smallest.
5) Cannot browse the content of CD properly
Remedy : Update your internet explorer to at least version 6 or more
6) Unable to view a *.avi files
Remedy : Install window media player or any other suitable media player (mp3 of
Jet player) to view AVI files.
7) Cannot view *.max files Remedy : Install 3DS Max 6 software.
8) Unable to view *.prt or *.asm files
Remedy : Install Pro / E 2001 of Pro / E Wildfire
Remember that the above version of Pro/E can be installed in Windows XP or later.
COSTING
a) Investment costs
Against the positive economic benefits outlined above must be set the high
cost of implementing a multimedia system. Though the cost of technology is falling

steadily, the cost of development work remains very high. Such work typically requires
the assistance of one or more third party suppliers as very few organizations have the
requisite design skills available in house. Experience shows that most managers
underestimate the skills involved, the need for a new approach to product management
and the length of development time.
Unlike most other computer-based systems, multimedia involves a high
proportion of information (usually referred to as its content) in a form that is very
expensive to create and maintain. This is exacerbated in many cases by the need to pay
royalties or fees to the owners of copyright, since the ownership of much audiovisual
material is likely to lie outside the organization.
COST SHEET
Operator Charges
Rs. 10,000
@ Rs. 500/- per diagram x 25
Computer Charges Rs. 3,900

@ Rs. 1300/- per month x 3 months

Sound Recording
C.D. Writing (Including Blank C.D.)

Rs. 600
50 per CD x 12
C.D. Cover and Cover page

Rs. 504
42 x 12
Literature Summary
Download of VRML Browsers Rs. 200
Internet Charges
Total Rs. 15,204
Cost of single CD is 15204/12 = Rs.1267.

CONCLUSION
In this project we have basically worked on Pro / E for modeling different
Mechanism of Theory of Machine.
It is very hard to understand working of these mechanisms due to their
complicated arrangement consisting various link and joints.
We have used 3D Max Studio for the simulation of these mechanism by providing
motion to them, it is much easier to understand the working of such mechanism and we
have used VRML so that our work can be seen directly on web. Also we have opened this
field for making such type of educational knowledge on the subjects, which are highly
practical, boring and very difficult to understand only by reading.
This project is just an extension of the project carried out by our guide and seniors
" Educational multimedia on hydraulics and Pneumatics " before two years. The above
project was a 2D representation of the problem whereas this project is a 3D
representation. The concept of this project can be applied in mechanical engineering
laboratories where the complex machines and mechanisms are displayed. The same
concept is useful to the marketing people in machine tools industry where the models of
actual machines can be demonstrated in absence of actual machines. Interactive 3D
working models are always better than video films where we have a choice to see those
things that we want to see. VRML out put of the project enables the models to be
displayed on the web so that there is no need of carrying the CD-ROM. Even though the
PRO/Engineer has the capability of simulation, the software was not used for this purpose
because it might have put many constraints on the process.

REFERENCE
1) LEARN VRML IN 21 DAYS
BY: CHRIS MARRIN AND BRUCE CAMPBELL
2) THEORY OF MACHINE
BY: R.S. KHURMI
3) PRO/E WILDFIRE
BY :SHYAM TICKOO
4) Pro/ENGINEER INSTRUCTOR ( TATA McGRAW-HILL)
BY : DAVID S. KELLEY.
5) MASTERING 3D MAX ( BPB PUBLICATIONS)
BY : CAT WOODS
ALEXANDER BICALHO
CHRIS MURRAY.
6) www.google.com

Acknowledgement
It is the co-operation, mutual team sprit and delightful work, which bring
the successful completion of our project work. It is only the precious guidance
encouragement and inspiration provided by Prof. D.V. Shirbhate, which brought
the enthusiasm and boosted our moral to complete the project. We are grateful
and express our profound gratitude for his help. We are also grateful to our
honorable H.O.D. Prof. C.V. Deshmukh for his guidance and timely help. He
has come through on countless occasions to make sure that project gets completed
in time.
We would like to acknowledge Prof. S.K. Patil who spoke and
demonstrated dedication to technical excellence.
We would also like to thank Mr. Anirudha for his great hand in Digital
printing and Web page designing which stand as pillar of our project.
We would like to thank to great staff of our college without whom we would
not be holding this project on our hands.
In the last how we can forget our respected principal Dr. A.B. Marathe
sir who has provided every facility for the completion of our project.

INDEX
1) Abstract
2) About VRML
3) About 3DS MAX
4) About Pro / E
5) Parametric Modeling Concept
6) About Mechanism
7) Need of Multimedia in Education
8) Content of CD
9) Storages
10) Troubleshooting
11) Costing
12) Conclusion
13) Reference

Virtual Theory of Machine Lab

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Virtual Theory of Machine Lab

Pro/e will be used for modeling purpose, as pro/e is a parametric modeling

package, therefore modification in design as well as dimensions can be modified very

professional carrier in our future.

We have planned to include basic mechanism of theory of machine subject. These

at simulation of the mechanism, which will be quite easy to understand. We are

for teaching learning process. The traditional multimedia in engineering involves 2d

mechanisms. VRML (virtual reality modeling language) is a plug in used on Internet

available. This eliminates need of carrying CD ROM.

lab assistance as well as students.

C.O.E & T, Ak ola. 1

useful for our project

1) LEARN VRML IN 21 DAYS BY: CHRIS MARRIN AND BRUCE CAMPBELL

2) THEORY OF MACHINE BY R.S. KHURMI

3) PRO/E WILDFIRE BY SHYAM TICKOO

Methodology experiment to be adapted: the project work can be distinguished by

three phases. 1) Modeling 2) simulation 3) viewing and interaction

that viewing and interaction will be carried out in VRML.

C.O.E & T, Ak ola. 2

will add to our repertoire of creative outlets.

work shown in an art gallery, or to someone with access to a publishing house or

them available to everyone on the Web.

C.O.E & T, Ak ola. 3

how to create full multimedia experiences, integrating 2D and 3D elements. VRML is an

exciting new development. It has been a lifelong dream of mine to be involved in

VRML is the realization of that dream for me.

experience of 3D to the global access of the Web.

# Why use 3D on the Web?

# A short history of VRML.

# Authoring VRML worlds.

# Tools and resources

C.O.E & T, Ak ola. 4

C.O.E & T, Ak ola. 5

displayed on a computer screen, it is ideally suited to dynamic presentations with motion,

sound, and interactivity.

bringing that richness of information presentation to every desktop,

A Short History of VRML

Wired magazine to start a mailing list called www-vrml.

television. A subset of Inventor was chosen that facilitated implementation on a wide

C.O.E & T, Ak ola. 6

those Virtual worlds.

VRML community to Inventor. In thinking about 2, he conceived of three requirements

he deemed important for 3D Web content: composability, scalability, and extensibility.

basement, is contained within the house model.

C.O.E & T, Ak ola. 7

Scalability allows worlds of arbitrary size to be created. With VRML, it must be

from having arbitrary limits in size or detail.

Extensibility allows an author to extend the capability of the language to serve

geometric objects to be added to VRML.

Tools and Resources for VRML

included on the CD-ROM.

CosmoPlayer runs under Windows 95 and works with Netscape Navigator 2 or

3.0 or Internet Explorer 3.0. To install it, follow these steps:

1. Insert the CD-ROM into the drive.

3. Double-click on the CD-ROM icon.

4. Double-click on the icon labeled npcosmop.exe.

5. When the installation begins, follow the on-screen instructions. I

C.O.E & T, Ak ola. 8

Basic VRML Concepts

such as MPEG, or image-based formats, such as Shockwave from Macromedia. Both of

walk up a flight of stairs to go into a second-story office.

C.O.E & T, Ak ola. 9