UNIT-IV

Authoring tools for CD based multimedia- type of multimedia authoring tools, key
factors of selecting CD based multimedia authoring tools, planning and distribution of a
multimedia project, multimedia development team and skills requirement, stages in
designing and producing multimedia products for CD, testing of product, distribution of
multimedia product, various formats of cds and dvds.

Key factors of selecting CD based multimedia authoring tools

Authoring systems are more complex development environments that allow users with no
time or interest in programming to compose multimedia project interactively by clicking
on objects, choosing menus, or following wizards. In comparison with traditional
programming, only 1/8 of the time is needed to produce a multimedia project using an
authoring system.

In simpler terms, this effort is about software selection: “How many kinds of
image and /or sound extensions can a tool support,” “Does it support some kind
of animation?” “Do I need any program to run the files produced by authoring
software? Is it possible to make executable files?” “Do I need to pay for a license
to use the program, or is it free?” All this has to be clear.

So far, we have argued that selecting an authoring system is a complex

procedure. Therefore, locating a number of standards that a multimedia
authoring package could meet would mean simplifying the whole concept.
(1) Variety of designed applications: Usually, less sophisticated authoring tools
offer only the ability to design applications identical to one another. Of course,
this is a result of the efforts to minimize package complexity which leads to a
subsequent drop of the abilities’ standard.
(2) User interface: Normally, a good interface presents itself in two modes (at
least): The “beginner mode,” with only the basic capabilities, and the “expert
mode,” which offers all available features.
(3) Multimedia: The truth is that even the most simplified software systems offer
multimedia imports. However, what can be measured are the supported file types
(BMP, GIF, JPEG, WAV, AVI, MPEG, etc). Needless to say, the sole number of
file types may be misleading: an authoring system that supports only two image
types (BMP
and GIF) is perhaps far superior to one that supports 10 possible types but not
these two.
(4) Data communication with other applications: This feature is useful when trying
to extract or import data from and into the system. For example, sophisticated
tools can export test data in the form of spreadsheet files, interact with databases
(via ODBC drivers), and import a variety of file types (as DOC, RTF, HTML, XML,
etc).
(5) Branching: Unlike simply linear systems, complex authoring tools connect
independent screens or forms via links that can be followed at the user’s will.
Moreover, some systems even decide which screen will be presented next,
depending on the user’s answers or preferences.
(6) Scripting: Even when hypothetically using the “best tool for the job,”
sometimes there are ideas that cannot be materialized in a standardized way.
This means that there has to be a more or less simplified way to program these
tasks. Of course, that can only be realized through a kind of programming
language, which can differ among cases. Some programs may offer traditional
text-based scripting while others might host some kind of simplified visual
programming that can be approached more easily by less-experienced users.

Characteristics of Multimedia Authoring Tools

(1) Program and company name
(2) Price: Even if it’s “the greatest tool ever built,” if it’s too expensive, people
won’t buy it. Price is perhaps the first factor buyers consider when looking for a
multimedia authoring package.
(3) Platform: Assuming that the best solution has been spotted, the benefit is
minimal if a certain operating system or architecture is pre-conditioned. For
example, a tool that runs on Linux, Windows, and Mac-OS is substantially more
“easy-going” than a system that runs only on Windows 98.
(4) Text editor: Usually, most programs offer basic text-editing capabilities. Of
course, by no means does that mean that one could write a whole essay using
that particular feature. Rather, in many cases, it means a simple textbox that can
hold a certain “amount” of text and some basic formatting capabilities are offered.
(5) Text import formats: As stated above, most of the times it is far better to
merely import a text than to write it again from scratch. Therefore, a decent tool
has to import at least the basic text formats such as DOC, RTF, TXT, etc.
(6) Video formats: Of course, the same principle applies to video file types (after
all, this is about “multimedia” applications). Thus, in accordance to the above, a
system that allows AVI, MPEG, MOV for example outclasses one that can work
only with MOV and AVI files. However, it would be an oversight if copyright issues
weren’t mentioned at this point: some video — as well as sound and image —
formats are offered in exchange for money. This means that a program using the
MP3 encoding has to pay copyright fees to the corresponding company, a cost
that naturally has to be passed over to the final buyer.
(7) Sound formats: Considering that sound is a “must have” in multimedia
presentations, the more supported sound formats, the better. Usual file types are
WAV, MIDI, MP3, CDA, and Real Audio. The truth is that anything beyond that is
a luxury, while anything far less is a handicap.
(8) Image formats: Even more important than the above, images can be imported
in an application as pictures, diagrams, or even buttons. However trivial this may
seem, there are tools that support as many as 32 image file types, as opposed to
other tools that support only BMP and JPG. In actual practice, having to convert
each image
to BMP or JPG is a big deal.
(9) Drawing: This variable refers to whether the program lets the user draw his
own shapes or pictures. Some systems do that. In most cases, however, the
drawing tool includes only basic shapes and some systems do not support
drawing at all. That means that the user must use another program to draw a
graphic element (e.g., a simple arrow) and then import it as a picture, which may
require converting the graphic element to a file type that is supported by the
system.
(10) Export: While every tool can produce a fair multimedia presentation, an
above-average package can export editable files in the form of executable files
such as AVI, MOV, or animated GIF.
(11) Script: As stated earlier, scripting is a powerful feature for any authoring tool
that claims to be an integrated “tool.” By using a script editor, the user (usually
the more experienced one) can alter little details or even program the whole
application from scratch. Without a script editor, the user can produce only the
typical features offered by default, which is why one can find numerous
presentations that are identical in design, color, buttons, shapes, navigational
flow, etc.
(12) 3D: This variable represents whether the program works with 3D images or
not.
(13) Animation: Despite the fact that one of the main reasons a presenter
chooses a computer-based authoring tool over regular transparencies is for its
animation capabilities, several packages offer very little animation or no
animation at all. Even if a package does offer animation capabilities, these
capabilities may differ from other
programs. Because of this, many questions have to be asked: “What kind of
animation is offered?”, “Is the system capable of handling animation without the
help of external file types (SWF, for example)?”, “Is there a need for third-party
plug-ins?”, etc.
(14) Effects: Extending the previous variable, most programs offer some effects
(such as slide transitions, for example).
(15) Needs player: As controversial as this concept may be, the need for a
separate player in order for a file to be executed can be a virtue, especially if the
system cannot export editable files in the form of executable file types.
On the other hand, the existence of a player means that the plug-in (which
requires minimal disk space) can be installed on a specific portable computer.
(16) License: Since cost is a great factor when looking for a sufficient tool,
licensing is one thing that should not go unnoticed. Therefore, one has to wonder
about many things: Is it 30-day-trial software? Shareware? Freeware? If not, is
there an evaluation edition? Assuming that I buy it, do I need a separate licence
for every computer or not? If I represent an educational institution, am I eligible
for an academic licence?
(17) WYSIWIG Design: WYSIWIG (What You See Is What You Get) means that
the user composes each application through the eyes of the final user. This may
seem strange to most people as old design tools required the user to design in a
strange GUI (Graphical User Interface), which had nothing to do with the
outcome, or even work with plain code.
(18) Interactivity: Similar to branching, interactivity has to do with the user’s
power to define the application’s final outcome: Is the tool in the position to
produce interactive applications or merely series of linear slide transitions?
(19) Address/Notes: Finally, the shading of all the selected authoring tools ends
with an Internet address (for more information, downloads, etc.) and some notes
that may be useful.

Type of Multimedia Authoring Tools:

1.Card or Page Based Authoring Tools.
2.Icon Based Or Event Driven Tools.
3.Time Based Tools.
These days multimedia is widely used for training and education, presentations,
information kiosks as well as on websites and for entertainment. Selection of the right
tool is essential while starting graphic designing and multimedia ventures. There are
three types of multimedia tools classified according to the style in which the multimedia
presentations are created.
Card Based Tools: These tools divide the content of your multimedia presentation into a
number of pages called cards. These are the simplest tools for beginners to learn and start
creating multimedia presentations without in-depth knowledge of graphic designing.
The challenge faced with this type of tools is concurrent playing of media. Apple's
HyperCard and Allegiant's SuperCard are examples of card based tools.
Time-line Based Tools: These tools use a reel of film on which multimedia content is
organized along different tracks Adobe’s Director and Flash are two popularly used
time-line based tools. Running concurrent media is easier in time-line based tools.
Flow Control or Icon based Tools: These tools let you drag and drop icons into a page
and then help you link multimedia activity by double clicking the icons through dialog
boxes. These tools are expensive and are used for interactive public kiosks etc. Examples
of these tools are Macromedia's Authorware or AimTech's IconAuthor
While choosing a multimedia authoring tool, you need to consider the type of media and
formats are supported, the integration capability of the tool etc. Irrespective of your
choice, a multimedia authoring tool will definitely help you organize your content in an
attractive multimedia presentation.

How is multimedia development is different from other software development projects?

Graphics and other media require special skills
Much more emphasis on designing for the user
Artistic and software design
E-learning also requires instructional design
How is multimedia development similar to other software development projects?
Software life cycle still applies: analysis->design->
->implementation->testing->delivery->maintenance (&cycle)
Management skills: coordinating people with different talents and agendas
Multimedia development is rarely a one-person show
Real world development requires a team pooling many talents
The whole is greater than sum of its parts

Stages in designing and producing multimedia products for CD

A. The development process
B. The project specification
C. Roles and responsibilities
D. Media acquisition
E. Media management techniques

A. The development process

Step 1:
Planning Multimedia project

Multimedia projects present the same kind of management issues that other types of
projects offer. You need to consider a set of variables that range from how your title
should look onscreen to what your budget, schedule, and resources allow you to
accomplish. The earlier you think about these variables, the more control you'll have over
the quality, cost, and schedule of your project.
Good project management depends on having a clear picture of the steps involved in a
particular process. Establishing your own systems for managing title development will
free you to focus on your real concern: creating dynamic multimedia titles.
Before you start developing a title, you should think through every aspect of the project,
then write a specification.
A complete specification explains the audience, concept, and purpose for the title. It
includes a storyboard that sketches out the content screen by screen and identifies the
multimedia effects you want to use.
Specifications often outline the schedule, personnel, budget, and equipment you need to
develop your title. They also identify the computer equipment you expect your audience
to have to run your title.
Simple projects, such as a short presentation, may only need a brief, 1- or 2-page outline.

Step 2:
Prototype your title

Audiences respond strongly to how a title looks onscreen, how information is presented,
and how easy it is to move around in the title. To ensure the quality of your title,
prototype and test your design ideas for usability before you proceed.
A design prototype should specify the fonts and colors to use, how different design and
media effects are treated onscreen, and how the navigation system works and looks. After
seeing the design, you may want to return to the storyboard to reshape your information.

Step 3:
Develop the content

Using the specification and design as blueprints, you and your team can develop the
content and media effects for your title. You need to establish standards for your media
development, such as what level of quality you want for the sound or video clips, or what
color palette should be applied to all graphics and video. During this phase, an editor (or
someone acting in that role) reviews the content and media to see whether they work well
together.
 Step 4:
Author the title

During the authoring phase, you integrate the content and media into its final form. This
step may involve using a programming language, or it may be a matter of importing your
effects into a file-depending on what kind of software product you're using to create the
title.
Steps three and four often overlap each other: You need to prepare the content before you
can integrate it into the final title. But you need to integrate the content and review it
onscreen to edit it well. Most projects involve several cycles of media development,
authoring, review, and revision.

Step 5:
Testing the Product

Testing involves three things: proofreading your content onscreen, checking the title's
technical performance, and verifying that the title works on different hardware
configurations. You check everything from spelling to the synchronization of media
effects.
Projects often demand making tradeoffs in scope, schedule, and budget. As a rule, never
make those tradeoffs at the expense of testing. You'll get better results creating a shorter
title with fewer effects that you have time to test.

Testing is an unavoidable rule in any multimedia projects. You must test or review your
project or Web site to ensure it is bug free, accurate, operationally and visually on target,
and achieving the objective or target.

Testing is not an easy process. Every feature and function must be exercised, every button
or link must be clicked. Then the same thing will be repeated again and again with
different hardware and under various conditions.

Testing can be done in two phases and they are usually known as alpha testing and beta
testing. This term is used to describe at which level of product development when testing
is done and feedback is sought.

Alpha testing.

In alpha testing, your product is evaluated relatively in the early stage of the development
phase. The application may be missing part of the content or functionality.

The main interest is to review the concept, format, user interface and the layout.

The tester may be some selected users or friends, most often the team member
themselves. They should be able to provide positive criticism or feedback.

Beta testing.

The product is evaluated just before the final release. It is a fully functioning product and
should be relative bug free.

The main interest is to find bugs or content errors.

The testing group should be represented by the real users and should not include the
people who have been involved in the project.

The feedbacks from these testers are very important where the errors or problems
reported by the beta testers have to include the detail description of the problem.

Step 6:
Distribution of Multimedia Project
The final step in your production is to build a master copy of the title. The master
organizes all the files in your title together, so the title can locate and retrieve files as it
needs them.
What you do next with the master depends on how you plan to distribute the title. If, for
example, you're preparing a presentation for a small group to use, you may simply copy it
onto floppy disks and hand it out. If, on the other hand, you're preparing a title to sell,
you will copy it in larger quantities onto floppy disks or CD-ROMs.
The equipment involved in replicating a title on CD-ROM is expensive, so you will
probably work with a facility that specializes in this work. You should choose the facility
early and discuss their requirements in detail. You need to know how to organize your
master copy and the format to deliver it in to the facility. Always test your master before
you hand it off to make sure it performs the way the final title should perform.
Finally, the last stage of the product development is delivering or deployment. You want
to deliver your multimedia project to consumers or users, you need to know which
medium you want to use.

For web site, you can just upload to the servers and adjust some settings then it is ready.
For more complex application where installation into the user’s computer is needed.
Installation should be smooth, easy and fast so that the user can start using your
application as soon as possible. It is frustrating that after all the efforts; your application
is not usable due to installation error.

Documentation is another aspect you need to look into especially when it involves
installation process. You need to provide a clear step-by-step procedure for the users to
follow. The documentation also must include the potential problem that can occur and
how to solve it. Often a file name README.TXT is good thing to include in your
distribution CD of your project.

B. The project specification

Writing a specification is one of the most challenging and important steps in creating a
multimedia title. To write a useful specification, you need to research and think carefully
about all the different aspects of your project. At first, you won't have clear answers for
all the questions that come up. But you can use the specification to identify those
questions and anticipate other issues, so they don't become crises down the road.
Think of your specification as a map of your project. You may decide to change routes as
you travel, but mapping out a route ahead of time gives you a clear idea of where you're
going and what you need for a productive trip. Here are some of the factors to consider as
you plan the shape and content of your multimedia title.
B.1. Concept Consideration

B.1.1 Audience
Always tailor the quantity and style of the multimedia effects you use to your audience.
Let's say, for example, that you're presenting scientific findings to a conference. You'll
want to avoid cute animations and sounds and stick to effects that accurately convey the
substance of your information. On the other hand, a multimedia game demands many fun,
imaginative effects. Identifying your audience can be tricky, but it's critical for effective
communication.
B.1.2 Purpose
Multimedia effects need to serve your purpose in speaking to a particular audience.
Before choosing the media to use, be clear about the response you want from an
audience. Decide whether you're trying to educate, entertain, inform, or persuade the
audience-or some mix of these goals. Keep these goals in mind as you select and prepare
effects.
B.1.3 Content
Content drives the effects you'll use. Some content lends itself to multimedia effects: bar
charts shrink and grow, pictures offer another view of a story, and video clips instantly
reveal a process. Other content may work better in person or in print-or the effects may
be impossible to attain without great expense.
B.2. Practical considerations

B.2.1 Budget
Producing elaborate multimedia effects can be expensive If you're working with a limited
budget, use fewer effects and keep them simple. Being realistic about what your budget
supports lets you achieve the quality you want within that budget.
B.2.2 Schedule
Preparing and testing multimedia takes time. Digitizing sound and video or scanning and
retouching photographs can take a few minutes to a few hours per effect, depending on
the complexity of what you're doing. If time is an issue, opt for creating fewer effects
with more impact.
B.2.3 Resources
The resources you need depend entirely on the kind of title you are creating. You may be
able to create a multimedia business presentation on your own or with the help of an
experienced consultant. On the other hand, developing a more complex title often works
better with a team of people, each trained in specific areas. Keep your resources in mind
as you plan the scope of your project.
B.3. Technical factors

B.3.1 Equipment
Multimedia effects demand significant computer power to prepare and play them.
Furthermore, preparing certain media, such as video and sound, requires special
equipment to achieve the quality you want. You need to assess both your equipment and
the minimum configuration you expect your audience to use. Then, select media that can
be developed and viewed on the equipment you've specified.
B.3.2 Distribution
Multimedia titles often take a lot of space to store, so it's important to know how you plan
to distribute a piece before you develop it. If, for example, you plan to send your work
out on floppy disk or over a company network, you should work with simpler effects to
keep your file sizes down. If you plan to use a CD-ROM to distribute your work, or your
work will appear on a portable computer with a Iarge hard disk, you'll have fewer storage
constraints.

C. Roles and responsibilities/Multimedia Team and Skill Requirement

Developing a full-fledged multimedia title involves a rich mix of skills ranging from
project management and interface design to sound preparation and programming.
Although multimedia tools make it possible for one person to perform every task, few
people have the combination of technical, artistic, and management skills necessary to fill
every role well as a rule, multimedia titles are best developed collaboratively by teams
with a range of expertise.
Often, however, budgets and schedules require multimedia developers to juggle all of the
roles themselves. To be successful working alone or with a small team, you should
Seek out information about each role's responsibilities. The more you understand, the
better you'll perform in these roles.
Keep your projects simple at first. Then you can tackle more complex multimedia effects
and title design as your expertise grows.

Producer

The producer manages the development of the title, including planning, budgeting, and
scheduling the project. The producer often directs the content, much as an art director
oversees print materials.

Skills-
Someone with people & resource management skills
Responsible for overseeing project timeline & priorities

Writer/Content expert

The writer researches the content of the title, helps storyboard it, and then writes all of the
text. Sometimes a content expert works with the writer to help communi- cate the right
information.

Skills-
Someone who communicate clearly through written text
Someone skilled and knowledgeable in a given topic area
Helps identify background resources for building the content outline
Reviews content design for factual integrity, completeness and educational effectiveness
Usually not a designer or developer

Editor/Proofreader

The editor reviews all of the written material onscreen for interest, clarity, conciseness,
and grammatical correctness. The editor also checks that the text works well with the
other media. A proofreader polishes the final work.

Interface designer
The interface designer establishes a consistent design for the title by specifying what the
navigation system looks like, where information and media appear onscreen, and what
fonts. colors, and graphical design elements to use.

Skill-
Someone who knows how to organize and communicate visual information
Designs user interface and how material gets presented to audience

Illustrator/Animator

The illustrator creates the graphical parts of the title, such as the screen elements and
buttons.The illustrator also prepares the drawings. scanned photographs, and animations
that are specified in the storyboard.

Audio technician

The audio technician prepares the voice narration, sound effects, and music for the title.
This work typically involves converting traditionally recorded sounds to a digital format
that a computer can handle.
 Video technician

The video technician prepares the video for the title, which may involve shooting the
original videotape. The video technician then converts the data on the tape into a
digital format for the computer.

Skills-
Someone with a good eye for video and making every megabyte count!
Carries over skills from movie or TV production
Video is costly, in terms of production and space/bandwidth requirements

Programmer

The programmer writes the code that integrates all of the media effects into a working
title. The code tells the computer what information to display and when. (Some software
lets you build multimedia titles without writing code.)

Skills-
Someone who can implement programs that integrate media elements
Given a clear design and previously created media elements (graphics, sounds, video,
etc.) a programmer creates running software for the title

Tester
The tester verifies that every aspect of the title works correctly. A tenacious tester looks
at every word, screen, and media effect to ensure their quality. The tester also runs the
title on different hardware configuration.
Skills-
Tests to make sure a title works according to spec and work for users
In real world, an external, third party
May involve actual user observations and/or focus group sessions

D Media acquisition

Develop your own effects. With

a creative idea, the right equipment, and a knowledgeable
team, you can create original multimedia effects for your title. Creating effects yourself
offers two advantages: you control the concept and quality, and you own the copyright to
your materials.

Convert existing material. Muiltimedia

titles are often rooted in existing printed, taped, or
recorded materi als, which you can digitize to use on a computer.You can, for example,
use a scanner or video frame grabber to convert existing artwork to computer-ready
graphics. However, make sure you have written permission when you' re working with
copy-righted material.

Acquire effects from a professional service.You

can contact professional services that sell or
license books, music, sound effects, voice narration, film clips, and other effects to use in
your titles.

Hire professionals to prepare effects. Hiring

professionals can be expensive, but it provides
some indisputable benefts: high quality, complete control, copyright ownership, and
computer-ready, files. This option makes particular sensce when you' re preparing sound
or video effects becaiise experience and a controlled working environment make a
significant difference to the quality of these effects.
Locate public domain materials.You
can use any material that' s in the public domain. For
example, many of the materials that the United States government produces are available
for anyone to use. What constitutes being available in the public domain can be tricky,
though, so you may want to get legal advice.

Pay attention to copyrights.Using

copyrighted work in your title without permission may
have costly consequences even when you' re using the title in a limited way and have no
commercial plans for it. Altering the material doesn't necessarily protect you from
copyright infringement penalties either.
If you want to use someone's work in your title first find out if it's copyrighted. If it is,
ask for written permission to use it, and be prepared to negotiate a one-time fee or an
ongoing royalty for the privilege.
Always take copyright negotiations seriously. Be clear about what you're negotiating
for-you may be purchasing only limited rights to use the material. Copyright negotiations
can sometimes take months to transact, so allow sufficient time in your schedule. Finally,
consider retaining an experienced lawyer to assist you in negotiating these often complex
issues.

Media management techniques

Multimedia titles often include hundreds of effects. To work efficiently, you need a
version-control system for tracking and managing them. You also need two systems for
storing multimedia effects: a daily backup system and a long-term archiving system.
You can approach tracking and storing multimedia effects in a number of ways. In fact,
your systems are likely to evolve as your resources change. 'To be effective, though, you
must be scrupulous about maintaining your title versions and tools.

Tracking multimedia effects

One of the most effective ways to track multimedia effects is to set up a relational
database. A database lets you track the number and type of effects that have been
developed for a title, the status of those effects, whether or how often they are actually
used, who developed them, any copyright and royality arrangements, and a host of other
details.
A database essentially transforms your work into a library of multimedia effects, making
it easier to reuse media in different titles and saving you time and money in future
development. The sample database below offers an overview of some of the information
you can collect.
A. File names

B. File type

C. Relationships between different files

D. Artist or developer who created the effect

E. Legal and copyright status

F. Fees/royalties

G. Usage

H. Version control

I. Archive location

When DVD technology first appeared in
households, users were simply popping DVD
discs into their DVD players to watch movies —
an attractive option to the then-conventional
VCR. But just as compact disc (CD) technology
evolved so that users could record and erase
and re-record data onto compact discs, the
same is now true of DVDs.
Key Terms To Understanding DVD Formats:
DVD
Short for digital versatile disc or digital video disc, a type of optical
disk technology similar to the CD-ROM.
DVD-Video
A video format for displaying full-length digital movies.

DVD-ROM
With so many different formats — DVD+R, A type of read-only compact disc that can hold a minimum of 4.7GB
DVD+RW, DVD-RAM, DVD-R, DVD-RW, (gigabytes), enough for a full-length movie.

DVD-ROM — how do users know which DVD

format is compatible with their existing systems, burn
and why are there so many different formats for Slang term meaning to write data to a CD-ROM or DVD-ROM.
DVDs? The following information sheds some
light on DVD's different flavors, the differences
between them and the incompatibility issues
that the differing technologies have sprouted.
Divx
Short for Digital video express, a new DVD-ROM format promoted
by several large Hollywood companies. With Divx, a movie (or other
data) loaded onto a DVD-ROM is playable only during a specific
time frame, typically two days.

Why So Many DVD Formats?

The crucial difference among the standards is View all terms in the Webopedia DVD Category.

based on which standards each manufacturer

adheres to. Similar to the old VHS/Beta tape
wars when VCRs first hit the markets, different
manufacturers support different standards.
Often called a format war, both the industry and
consumers are still waiting to see which format
will emerge as the industry standard.

Plus or Minus - What's The Difference?

The different variations on the term DVD (e.g.
+R, -R, -ROM, and so on) describe the way
data is stored on or written to the disc itself.
These are called physical formats.

DVD+R and DVD+RW

DVD+R and DVD+RW formats are supported
by Philips, Sony, Hewlett-Packard, Dell, Ricoh,
Yamaha and others.

DVD+R is a recordable DVD format similar to

CD-R. A DVD+R can record data only once and
then the data becomes permanent on the disc.
The disc can not be recorded onto a second
time.

DVD+RW is a re-recordable format similar to

CD-RW. The data on a DVD+RW disc can be
erased and recorded over numerous times
without damaging the medium.

Note: DVDs that have been made using a

+R/+RW device can be read by most
commercial DVD-ROM players.

DVD-R, DVD-RW and DVD-RAM

These formats are supported by Panasonic, Toshiba, Apple Computer, Hitachi, NEC, Pioneer,
Samsung and Sharp. These formats are also supported by the DVD Forum.
DVD-R is a recordable DVD format similar to CD-R and DVD+R. A DVD-R can record data only
once and then the data becomes permanent on the disc. The disc cannot be recorded onto a
second time. There also are two additional standards for DVD-R disks: DVD-RG for general use,
and DVD-RA for authoring, which is used for mastering DVD video or data and is not typically
available to the general public.
DVD-RW is a re-recordable format similar to CD-RW or DVD+RW. The data on a DVD-RW disc
can be erased and recorded over numerous times without damaging the medium. DVDs created
by a -R/-RW device can be read by most commercial DVD-ROM players.
DVD-RAM discs can be recorded and erased repeatedly but are compatible only with devices
manufactured by the companies that support the DVD-RAM format. DVD-RAM discs are typically
housed in cartridges.
DVD-ROM
DVD-ROM was the first DVD standard to hit the market and is a read-only format. The video or
game content is burned onto the DVD once and the DVD will run on any DVD-ROM-equipped
device. DVD-ROMs are similar to CDs.
DVD+R DL and DVD-R DL
Dual layer technology is supported by a range of manufacturers including Dell, HP, Verbatim,
Philips, Sony, Yamaha and others. As the name suggests, dual layer technology provides two
individual recordable layers on a single-sided DVD disc. Dual Layer is more commonly called
Double Layer in the consumer market, and can be seen written as DVD+R DL or DVD-R DL.
DVD+R DL (also called DVD+R9) is a Dual Layer writeable DVD+R.
DVD-R DL (also called DVD-R9) is a Dual Layer writeable DVD-R. The dual layered discs can
hold 7.95GB
The dual layered discs (DVD+R9 and DVD-R9) can hold 7.95GB and double sided dual layer
(called dvd-18) can hold 15.9GB.
A Note on DVD Burners
Until 2003 consumers would have to choose a preferred DVD format and purchase the DVD
media that was compatible with the specific DVD burner. In 2003 Sony introduced a multi-format
DVD burner (also called a combo drive or DVD-Multi) and today many manufacturers offer
multi-format DVD burners that are compatible with multiple DVD formats (as listed above).
Non-standardized DVD formats
DVD-VCD is a DVD-Video disc that has data on it that has been encoded by using the MPEG-1
video format with the same definitions VCD has.

DVD-SVCD is also not a valid DVD standard, since the DVD standard does not support the
SVCD resolution. The term DVD-SVCD is used to describe a hacked, or non-standard
DVD-Video disc that has SVCD compatible content on it.

DVD-MP3 is created with and contains only digital audio files in the MP3 format. Not all DVD
players can play DVD-MP3 discs.
DVD-D is a disposable DVD format that provides a limited time play duration of up to 48 hours
after the packaging has been opened. After the designated time has passed, DVD players are
unable to read the disc. The packaging of the disc is airtight and the DVD itself has a special
coating that begins to deteriorate when exposed to air. The DVD-D format is currently being used
for video game and movie rentals where not only can intellectual property rights be better
protected, but consumers have no need to worry about the hassle of DVD rental returns.
According to the manufacturer's Web site, both the DVD-D disc and the cardboard packaging it
comes in can be recycled.
The DVD-D format was developed by German company FDD Technologies AG, and while no
official definition of the D has been offered, many use the abbreviation to mean DVD-Destroy or
DVD-Destruct.
Successors to DVD
Several technologies are seen as successors to the standard DVD. These include HD-DVD,
Blu-ray, AOD and HVD (Holographic Versatile Disc). With so many formats competing, it is similar
to the old VHS versus Beta wars, but with one main exception; the difference in quality between
VHS and DVD was extremely noticeable, and this encouraged consumers to quickly and easily
transition to DVD from VHS. With these new standards, however, consumers are not seeing the
drastic quality difference of, HD-DVD over DVD for example, and adoption has been slow.
Additionally, the media players and the media itself is quite expensive (compare $35 or more
dollars for a Blu-ray movie versus $24 for a DVD movie). Overall the industry suggests that
consumers are just not ready to leave DVD behind quite yet. Here are some of the standards
which are believed to be successors to the standard DVD.
HD-DVD
Short for high definition-DVD, a generic term for the technology of recording high-definition video
on a DVD. In general, HD-DVD is capable of storing between two and four times as much data as
standard DVD.
On February 19, 2008, Toshiba issued a release stating that it would no longer develop,
manufacture and market HD DVD players and recorders, with cessation of the player and
recorders targeted for March 2008. Several major retail chains, such as Wal-Mart followed with
plans to no longer carry the product, and major Hollywood studios have also dropped plans to
release product in HD-DVD format as well.
Blu-ray Disc (BD) - uses a 405nm-wavelength blue-violet laser technology, in contrast to the
650nm-wavelength red laser technology used in traditional DVD formats. The rewritable Blu-ray
disc, with a data transfer rate of 36Mbps (1x speed) can hold up to 25GB of data on a single-layer
disc and 50GB on a dual-layer disc. On a 50GB disc, this translates into 9 hours of high-definition
(HD) video or approximately 23 hours of standard-definition (SD) video. The Blu-ray format was
developed jointly by Sony, Samsung, Sharp, Thomson, Hitachi, Matsushita, Pioneer and Philips,
Mistubishi and LG Electronics.
Advanced Optical Disc (AOD) - AOD and Blu-ray are similar in that they both use
405nm-wavelength blue-violet laser technology. While Blu-ray has a storage capacity of 25GB on
a single-layer disc, AOD has a storage capacity of 20GB on a single-layer disc. and the capacity
to hold 30GB on a dual-layer disc. AOD was developed jointly by Toshiba and NEC.