Index

3GPP (3d Generation Partner Project), 19, 128

A

Adams, Scott, 57

AAC (advanced audio coding), 98, 120, 186

AC-3; see Dolby Digital

ATSC (Advanced Television Systems Committee), 184

ANSI (American Standards Committee), 9

ARTS profile, 177

Apple’s QuickTime file format, 85

ATSC (Advanced Television Systems Committee) standard, 47

Audio

codecs, 62

compact discs, 47

formats and uncompressed bit rates, 139

resolutions and bit rates, 138–139

structured, 99

subjective tests, 49

Audio-visual data

better compression for, 60

numerology of digital, 135–139

what actually is compression for, 139–151

lossless, 140–141

lossy, 141–145

main building blocks of, 144

rate control for, 150

schematic representation of the concept of, 142

Avatars, 96–97

AVC (Advanced Video Coding), 18, 33, 50, 51–52, 87–88

B

BIFS (Binary Format for Scene Description), 80–81

Bit

rates and image formats, 136–137

streams, 37–38

Bits and bytes, 135–136

Bloomberg Television, 63, 208

“Brave New World” applications, 187

Business—technology interface, 191–263

C

CAVLC (context-adaptive variable-length), 118–119

CCIR, 19

Chiariglione, Leonardo, 21, 26

Christensen, Clay, 186

CNN, 63

Headline News, 208

Coding performance, measuring— science, marketing, or a black art, 153–168

questions on, 154–156

test material, 166–168

classification of, 167

Compression

bandwidth access, 153

broadband access, 151

electrical power generation and consumption 100 years ago, 152

factors, calculating, 156–159

applications, three reference, 158

test sequences, parameters for the two different, 157

future, still needed in the, 151–153

lossless, 140–141

lossy, 141–145, 150

measuring quality, 159–166

objective measurements, 160–162

“constant Q” coding mode, 161, 162

PSNR (Peak Signal-to-Noise Ratio), 160–162

“rate-distortion curve,” 161, 162

RMS (root mean square) error, 160

subjective testing, 162–163, 164–166

JND (“just noticeable differences”), 163

networks, different value, 167–177

broadband scenario, 169

further criteria, 170–177

low-complexity decoders, 173–174

low-complexity encoders, 174–175

low-delay encoding, 172–173

multi-pass encoding, 171

random-access stream editing, 175–176

real-time encoding, 170–171

narrowband scenario, 169

remains important, 275–278

technology, 151–152

innovative, FCB (Faster, Cheaper, Better) or Brave New World, 186–190

MPEG-4 and interactive TV, 184–186

MPEG-4 and MHP, 184–185

MPEG-J and DVB-J, 185–186

proprietary, role of, 177–180

W3C recommendations, 180–184

proprietary solutions, 183–184

SMIL, 181–182

SVG, 182

D

DAB (Digital Audio Broadcast) system, 45, 54

DASE (Digital Applications Software Environment), 184

Data casting, 208

DAVIC (Digital Audio Video Council), 19

DCT (discrete cosine transform), 88–89

Decoder, 61

compliant, and matching encoder, 39

illegal, 40

software, 101

Decoding, 37–39

DIN (Deutsches Institute fur Normung), 42

Director Shockwave Studio, 183

DMIF, 102

DMTF (Distributed Management Task Force), 19

Dolby Digital, 47, 110

DVB (Digital Video Broadcast), 18–19, 42, 46, 268

Forum, 19, 282

project, 128, 184

system specifications, 27

E

EBU (European Broadcasting Union), 179, 281

Eckard coder, 35

Eckard, Stefan, 35

Encoder, 61

and compliant decoder, 39

illegal, 40

software, 101

Encoding

device, 37

machinery

audio, 29–30

video, 29–30

process, 30

technology, 30

ETSI (European Telecommunication Standards Institute), 19

F

FCB (Faster, Cheaper, Better innovation); see sustaining innovation

FDIS (final draft Internal Standard), 10

Flash, 83

G

Gnutella, 45

GSM standard, 38, 42

H

H.261 standard, 43, 51, 61

H.262, 46

H.263, 50, 189

H.264/AVC; see MPEG-4/AVC

H.26L, 88

HD-DVD, 52

Video specification, 282

HDTV, 109, 136, 138

services, 46–47, 53

HoD (head of delegation), 18

Huxley, Aldous, 187

I

IEEE (Institute for Electrical and Electronics Engineers), 19

IETF (Internet Engineering Task Force), 19

Interactivity, content-based, 65

IP (Intellectual Property), 84

IP telephony; see voice data

IPMP (Intellectual Property Management and Protection), 83

IPRs (Intellectual Property Rights) and patents, 24–26, 278

ISDB (Integrated Service Digital Broadcast), 210

program menu of a terminal for receiving services, example of, 211

ISMA (Internet Streaming Media Alliance), 19, 112, 128

ISO (International Organization for Standardization), 8, 24–25

Central Secretariat, 9

correspondent member, 8–9

member body, 8

NGO (non-governmental organization), 9

organizational overview, 11

subscriber membership, 9

web site (www.ilso.ch), 8, 53, 56

ISO/IEC

11192, 44

13818, 46

ISRC (International Standard Recording Code), 83

ITU (Internal Telecommunications Union), 18–19, 43, 46, 51–52, 87, 188

ITU-T, 48

H.263 standard, 48, 50

Study Group 16; see VCEG

J

Java

applets (MPEGlets), 84–85

Runtime Environment, 85

Virtual machine, 85

JISCC (Japanese Industrial Standards Committee), 9

JPEG (Joint Photographic Experts Group), 43, 61, 63

JTC1 (Joint Technical Committee), 10

JVT (joint video team), 18, 51, 87

genesis of JVT and its parents, ISO and ITU, 89

L

LBC (Low Bitrate Coding), 48

M

Macromedia, 183

MAUI (Mobile Audio Internetworking Profile), 121

Media streaming; see video

MHP (Multimedia Home Platform), 184

Microsoft, 101, 113, 188

Internet Explorer, 181

VC-9 video coding technology, 52

Windows Media 9, 229–230

Windows Media, 178–180

Migration

and adoption issues, looking ahead, 265–285

and transition, 266–275

broadcast sector, 269–275

mobile sector, 267–269

Mobile Digital Terrestrial Broadcasting, 282

MoMuSys, 101

Moore’s law, 153, 235

MP3, 54, 60

audio

coding technology, 45

format, 26, 33

music, coded digital, 45

MPEG-1, 21, 34, 48

audio and video compression, 45

Audio Layer III; see MP3

cameras, 45

coding for digital storage media, 44–46

standard, 45

video system business, 46

MEPG.2 systems 47

MPEG-2, 21, 27, 34, 44, 48, 61, 269, 271–272, 275, 277, 283

1996 Emmy, 47, 52

audio, 47

codecs, 46, 63

technology, 46

compression, 46

dead, 57

standard, 46

profiles and levels in, 108, 109, 110

video coding, 47, 110

MPEG-2/H.262 coding for digital TV and DVD, 46–47

MPEG-3, 53–54

MPEG-4 AVC (aka, H.264), 18, 268–269, 271–272, 275, 277, 279, 281–283

Licensing,

licensing for, 248–263

coverage and patent holders, 249

license structure and fees, 249–252

MPEG LA, 248–249

Via Licensing, 252

coverage and patent holders, 252

license structure and license fees, 252–256

profiles for

baseline, 118–119

extended, 119

main, 119

standard, 189

business, in, 223–233

coding technology, how to roll out, 230–233

migration, key factors for, 227–230

money, how to make, 226–227

pricing, 223–224

specialization, 224–226

MPEG-4 Part 2, 241–248

coverage and patent holders, 241

license structure and fees, 241–248

MPEG-4 Part 10 (aka MPEG-4 AVC), 248–261

MPEG LA and MPEG-4 licensing, 248–256

coverage and patent holders, 249

license structure and fees, 249–252

Via Licensing and MPEG-4 AVC licensing, 252–255

coverage and patent holders, 252

license structure and license fees, 252–256

MPEG-4, 21, 33, 35, 48, 53–54

AAC, licensing, 256–263

coverage and patent holders, 256

license structure and fees

PC-based software

pricing-consumer, 258

PC-based software

pricing-professional, 258

standard rates, 258

AAC HE, licensing, 259–261

PC-based software

pricing-consumer, 260

PC-based software

pricing-professional, 261

standard rates, 260

Call for Proposals, 49

coding of audio-visual objects, 47–53

costs, 233–237

analysis assumptions, 237

bandwidth costs may drop, but increased usage will offset, 235–236

compression improvements will be very valuable, 235–237

current site bandwidth costs, 234–235

increase in broadband Internet users will increase demand for video, 235

Internet server costs impacted by video, 233–234

criticizing, 57

functionalities, 48–49

compression, 49

content-based interactivity, 49

universal access, 49

interactive content, 82

licensing, 238–263

visual, 240–248

coverage and patent holders, 241, 261

license structure and fees, 241–248, 261–263

object-based representation approach, 31

overall architecture of, 74

parts, comes in several, 78–104

AFX (Animation Framework eXtension), 104

DRM (Digital Rights Management), 83–84

interaction with media objects, 80–81

ISO/IEC 14496-1—Systems, 78–79

ISO/IEC 14496-2—Visual, 85–97

2D animated meshes, 91–92

2D mesh overlay, 92

3D mesh object, 95–96

alpha shape coding, 94–95

compression of natural video, 85–87

face animation object, example of, 97

interlaced coding tools, 94

ISO/IEC 14496-10—Advanced Video Coding (AVC), 87–90

sprite coding, 92, 93, 94

still-image compression— texture coding, 90–91

synthetic video, 95–97

ISO/IEC 14496–3 Audio, 97–104

compression, 98–99

synthetic, 99

ISO/IEC 14496-4—Conformance Testing, 100–101

ISO/IEC 14496-6-Delivery Multimedia Integration Framework, 102–103

ISO/IEC 14496-7—Optimized Software, 103

ISO/IEC 14496-8—MPEG4 on IP (MPEG-4 Contents over IP Networks), 104

ISO/IEC 14496-9-Reference Hardware, 104

ISO/IEC 14496-14—MP4 File Format, 85

MPEG-J, 84–85

marriage of MPEG and Java produces, 86

profiles, personal and main, 125

object composition—scene description, 79–80

overview of and their functional locations in a standard decoder, 79

stream synchronization, 83

XMT (eXtensible MPEG-4 Textual Format), 81–83

schematic representation of, 82

profiles, overview of, 110–121

audio, 120–121

high quality, 120

low delay, 121

main, 120

mobile internetworking (MAUI), 121

natural, 121

scalable, 120

speech, 120

synthesis, 120

combining for terminals, 110

graphics, 121–123

3D graphics, 122

3D audio graphics, 122

advanced 2D, 122

complete, 122

complete 2D, 121

core 2D, 122

simple 2D, 121

simple 2D + text, 122

X3D core, 122

scene graph

3D audio, 123–124

advanced 2D, 1224

audio, 123

basic 2D, 124

basic core 2D

complete 2D, 123

complete, 123

core 2D, 124

main 2D, 1224

simple 2-D, 123

X3D core, 124

visual, 110–121, 281

ACE (Advanced Coding Efficiency Profile), 116

Advanced Core Profile, 116

Advanced Scalable Texture Profile, 117

ARTS (Advanced Real-Time Simple Profile), 114

ASP (Advanced Simple Profile), 112–113

Basic Animated 2D Texture Visual Profile, 117

Core Scalable Profile, 116

Core Studio Profile, 114

Core Visual Profile, 115

Fine Granularity Scalability Profile, 113–114

Hybrid Visual Profile, 117–118

Main Visual Profile, 115

N-Bit Visual Profile, 115

Scalable Texture Visual Profile, 117

Simple Face and Body Animation Profile, 117

Simple Facial Animation Visual Profile, 116–117

Simple Scalable Visual Profile, 115

Simple Studio Profile, 114

SP (Simple Visual Profile), 111–112

standard, 31, 51, 56

Systems, 261–263

coverage and patent holders, 251

license structure and fees, 261–263

technology, 31

compliant, 53

terminals, toward interoperable, 104–110

conformance points

levels, 10–106

profiles, 104–105

conceptual difference between levels, 106

testing in

conformance, 127

interoperability, 128

verification, 126–127

trends behind, 59–69

interaction with multimedia content, 64–65

mixed media, 63–64

natural and synthetic audio, 62

natural and synthetic video, 61–62

object-based video coding, 60–61

universal access and mobile communications, 65–68

Video Verification Model (VM), 50

visual, 51, 62, 240–248

why use, 55–57

MPEG-7, 53

interface for content description, 54–55

MPEG-8, 53

MPEG-21 multimedia framework, goal of, 55

MPEG (Moving Picture Experts Group)

area of work, official description, 12–13

agenda, 12–13

Coding of Moving Pictures and Audio, 10

home page (http://www.chiariglione.com), 29, 55, 176

Industry Forum, 101

ISO/IEC/ITC1/SC29/WG11, 10

liaison, 18

meetings, 13–14

organizational overview, 11

organization and standard, 7–58

pre accomplishments, 43–44

saga so far, the, 43–55

standardization, 57

body, 8–19

conformance points, 38

corriegenda, 34

interoperability and compliance, 36–40

violation of the concept of, 40

principles, 26–29

a priori, 27

one functionality – one tool, 28

relocation of tools, 28

specify the minimum, 27

systems vs. tools, 27

verification of the standard, 28–29

process, 19–43, 31–33

challenges for, 21–22

core experiments (CM), 34, 36

further steps and updates, 33–34

models, working, 34–35

simulation (SM), 34

test (TM), 34

verification (VM), 35–36

over-and-under specification, 23

phases

collaborative, 32–36

competitive, 32

exploration, 31

requirements, 31–32

timeliness of a standard, 23–24

tests of, 29

what is actually standardized, 29–31

standards

examples of successful, 40–43

DIN, 42

DVB (Digital Video Broadcast), 42

GSM – mobile cell-phones, 41–42

NTSC/PAL Broadcast Television, 40–41

paper formats, ASCII, and programming languages, 42–43

new, 52

software for purchase, 53

structure of ISO, 8–11

subgroup, 14–15

audio, 16

ISG (implementation study group), 17

requirements, 15

SNHC (synthetic natural hybrid coding), 17

systems, 16

test, 16–17

video, 15

MPEG LA, 241, 248–249, 261, 279–281

MPEGIF (MPEG Industry Forum), 204

MIDI (Musical Instruments Digital Interface), 62

Multimedia Content Description Interface; see MPEG-7

Multimedia Home Platform, 185

MUSICAM algorithm, 54

N

NADIB (narrow-band audio digital broadcasting), 120

Napster, 45

NGO (non-governmental organization), 9

O

OCI (Object Content Identification), 83

OCAP (Open Cable Application Platform), 194

P

Patents and IPRs (Intellectual Property Rights), 24–26

R

Real Networks, 113, 180, 188

RealPlayer, 181

Rich Media, 182

S

SAFX (structured audio effects), 210

Semantics, decoder, 30

SMIL (Synchronized Multimedia Integration Language), 82, 181

SMPTE (Society of Motion Picture and Television Engineers), 18, 52, 179

SMS (Short Messaging), 187

Standard, technology in the, 59–130

architecture of an MPEG-4 terminal, 73–78

communications, universal access and mobile, 65–68

digital video data, the effect of error resilience for, 66

error robustness, 65–66

scalability, 66–68

SNR (Signal-to-Noise Ratio), 67, 68

spatial, 67

convergence – computers,

television,

telecommunications, 68–69

media objects,

coded representation of, 74–76

composition of, 76–78

audio, 78

different, 77

video, 76

roles, 69–73

content authors, 70–71

end users – consumers, 71–73

network or service providers, 71

Streamability, 80

Sustaining innovation, 186

SVC (scalable video coding), 114

SVG (scalable vector graphics), 182

SVCD, 46

Syntax, bit stream 30

T

Technology

advances in, what about patents, 278–283

beyond the standard, 131–190

dead, 57

encoding, 30

frozen, 22

innovative—FCB (Faster, Cheaper, Better) or Brave New World, 186–190

interface with business, 191–263

MPEG-4

arguments for, 193–204

an international open standard, 198–201

extreme durability, 199

format continuity, 199–200

innovation: GSM, WLAN, 3GPP, 200–201

market maturity, 199

business arguments for open standards, 201–204

competition, 203

greater resources, 204

interoperability, 203

MPEGIF (MPEG Industry Forum), 204

digital TV, 215–218

media asset management, 210–213

broadcast industry, 205

business and content, 211–213

in action, 205–223

a technical evolution, 195–198

mobile

industry, 220–222

multimedia, 222–223

studio and television post-production, 213–215

video over IP, 218–219

landscape, 177–186

obsolete, 22

proprietary, 193

premature, 22–23

Television

digital, 46, 184, 215–218

interactive, 64

standard, 53

Tragedy of the anticommons, 284

TTSI (Text-to-Speech interface), 99, 121

V

Via Licensing, 279–280

VCD, 46

VCEG (Video Coding Experts Group), 18, 43

Video, 20

codec, motion-compensated hybrid, 43

coding

experts group (VCEG), 51

standards, 44, 198

H.26x series, 57

subjective tests, 49

terminology, 145–148

B-Frame, 147–148

Constant bit-rate coding, 148–151

I-Frames, 146

P-Frames, 146–147

Variable bit-rate coding, 148–151

formats and raw data rates, 137

objects, blue-screen or green-screen production, 61

pixel-based, 62

storage of on disks, 138

Video CD (VCD), 4

Video Object Planes (VOPs), 50

Video telephony, 57, 189

Visual media, 62

Voice data, 20

VRML (Virtual Reality Modeling Language), 77, 79–80, 82

W

W3C (World Wide Web Consortium), 19, 82

recommendations of standards and technologies for multimedia, 18–184

web site (www.w3.org), 180

WBU-TC (World Broadcasting Unions Technical Committee), 280–283

Web3D, 19, 82

Windows, Media, 155 9, 270

X

X3D (Extensible 3D Format), 82

XML (eXtensible Markup Language), 83, 181

XMT (eXtensible MPEG-4 Textual Format), 81–83

schematic representation of, 82

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