Transcript The Internet & New Networking Technologies Advisory Panel
The Internet & New Networking Technologies Advisory Panel
Michael Childers LightStream Communications 1
Topics to be covered:
Decentralized open-source software Digital supply chain Digital rights management (DRM) MPEG 4 and MPEG 7 From display-based to transport-based 2
Content Services Provisioning:
1. Transaction Processing (TP) 2. Cassette Quality Control (CQC) 3
Proposition:
That the TP/CQC d’entre les morts, value proposition emerging technologies is rendered obsolete by 4
New Networking Technologies:
Peer-to-peer (P2P) computing Decentralized open source software Enabling the transfer of files from client to client without central control 5
A technology called DivX:
DeCSS emerges as the decryption key that breaks the Content Scrambling System (CSS) for DVD Hackers reverse-engineer MPEG 4 to reduce the size of DVD files to fit onto conventional CDs DeCSS & the reverse-engineered MPEG 4 are combined to create “DivX” 6
So, what do we have here?
The decryption key defeating DVD copy protection is available on Websites around the world.
The compression technology enabling placement of a DVD file onto a CD is available on Websites around the world.
Decentralized open-source software makes it possible to send pirated copies from peer to peer without central control 7
From Daily Variety:
“Forest estimated that by the end of 2001, one million full-length movies will be pirated over the Internet each day---a phenomenon that won’t be slowed by …the lawsuits recently filed by the MPAA and the RIAA.” 8
From The Hollywood Reporter:
“The new generation of fileswapping applications…known as decentralized open source (software) programs…are not owned or controlled by anyone, and there is no server in particular to target, making it virtually impossible for any litigation to shut them down.” 9
Esther Dyson, technology newsletter “Release 1.0”: “We’re very much looking at a biological model of an epidemic. On the Internet, a product doesn’t require a central host and it doesn’t require central distribution… it just spreads.” 10
From The Wall Street Journal:
“Hollywood, your nightmare is here!” 11
3 Basic Ways to Protect IP:
1) By statute 2) By contract 3) By business practices 12
5 Categories of Contractual & Statutory Protection
1) Copyrights 2) Patents 3) Trade Secrets 4) Trademarks 5) Mask Works (such as the negatives used to create silicon chips) 13
The Evolution of Statutory Protection in a Digital World
Move to globalize & standardize IP protection The World Intellectual Property Organization (WIPO) The Digital Millennium Copyright Act (DMCA) The WIPO Copyright Treaty The WIPO Performances & Phonograms Treaty The Uniform Computer Information Act (UCITA) DMCA updates, modernizes & strengthens the U.S. 1976 Copyright Act, Title 17 14
3 Landmark Court Cases:
Napster: Recording Industry Association of America (RIAA) challenges Napster’s fileswapping.
DeCSS: Motion Picture Association of America (MPAA) challenges 2600 Enterprises’ use of DeCSS on a Website.
MP3: Universal challenges MP3’s offering of the means to download music files.
All three cases were decided in favor of content proprietors, & all are on appeal.
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Protection of IP has always depended on: 1) Copyright laws limiting how content is used.
2) The willingness of the majority to observe these laws.
3) Ability of physical protection to prevent the minority from breaking the law.
Without 2 & 3, 1 cannot withstand.
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What does this have to do with networking technologies in IFE?
There now exists an ad hoc network, Internet-based, that makes illegal copying of movies, music & text relatively easy & virtually undetectable.
The potential inability of copyright law to prevent this activity forces content proprietors to look to their contracts & business practices for additional protection.
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Beating them at their own game...
“Consumers…demand access to content by any means necessary. Neither digital security nor lawsuits will stop Internet theft of content…Traditional publishers must focus on beating Napster at their own game, creating compelling services with the content consumers want.”
- Forrester Research
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The Courtroom or the Boardroom?
“The conflict is being fought…between two sets of ‘codes’. There’s the legal code, or set of laws…and the software writers’ code, or computer instructions..”
- Stanford Law Professor Lawrence Lessig, Time
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Slowing down the pirates by:
1) Developing a secure & effective network to facilitate the exploitation of product before the pirates do.
2) Utilizing every conceivable form of digital and legal protection to trip up the pirates while the content proprietor races to the finish line.
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The Digital Cinema Supply Chain By the end of last summer, 38 motion pictures had been released in digital cinema.
Disney plans to make all new releases available in digital cinema format by 2002.
Savings of $1.5 transportation.
billion annually in 35mm print cost & Current financial crisis by exhibitors is temporary & may actually help advance digital cinema.
Digital cinema is coming!
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Digital Cinema: Phase 1
Stand-alone digital projection using physical delivery media devices, manually operated within the cinema. Digital and film will co-exist from now through 2001 22
Digital Cinema: Phase 2
Centralized control of playback from within the theater utilizing combination of physical & electronic delivery Electronic reporting Digital & film will continue to co-exist from 2002 through 2004 23
Digital Cinema: Phase 3
Network delivery & network control over the playback.
Fully automatable systems.
No more film within that theater Interfaces with other automated elements of theater operation Beginning around 2004 24
Benefits to IFE of a Digital Cinema Supply Chain:
A digital supply chain for cinemas may be potentially cross-platformed between theatrical & nontheatrical applications Such a bifurcated supply chain could be in place within 2 to 3 years Physical delivery media devices would begin to be phased out 25
Expanding Digital within the Supply Chain Digital /film production Digital intermediates Digital /film distribution “Digital intermediates” are replacing film elements between production & distribution.
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Expanding Digital within the Supply Chain Digital intermediates introduce digital into the supply chain at an earlier stage “Transcoding”: Conversion from one compression ratio to a higher compression ratio without having to first fully decode the information 27
The Standards for Digital Cinema:
Will come from many sources, but principally from the Society of Motion Picture & Television Engineers (SMPTE) and its DC28 committee.
SMPTE is looking 10 years ahead & working back 28
The Standards for Digital Cinema
Benchmark: 70mm, 48 fps film is likely standard in 10 years… Therefore the digital master for archiving purposes should be scalable to 4000x2000, & support a datarate of 104 Mbps or higher.
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The Standards for Digital Cinema
A two-hour movie at cinema resolution of 1920x1080 pixels x 24 fps= 1.5 billion bits per second Using a compression ratio of 30:1, a digital cinema release master could be created between 35 & 45 Mbps 30
The Standards for Digital Cinema
Using transcoding to create: 1) digital edit master (140-270Mbps) 2) archive master (60-80 Mbps) 3) digital cinema release master (35 45Mpbs) 31
The Standards for Digital Cinema
4) HDTV/nontheatrical release master (15-20 Mbps) 5) standard definition TV (SDTV) master (4-10 Mbps) 6) streaming video release master (less than 2 Mbps) 32
The Standards for Digital Cinema
SDTV & streaming video release masters would be suitable for an IFE digital network Digital rights management (DRM): control of content by embedding instructions & timeframes (metadata) into the transport stream Using metadata to multiplex languages, versions, ownership, release dates, etc.
Controlling encryption keys Arthur Andersen sees 52% of first-tier media companies adopting DRM in 3 years 33
Metadata in the Transport Stream
Metadata: the data that interprets or defines other data Groups now examining metadata: The Dublin Core Group SMPTE/EBU Task Force European Community for Standardization (CEN) World Wide Web Consortium (W3C) Moving Picture Experts Group (MPEG) 34
Metadata in the Transport Stream
The Dublin Core Group has characterized metadata into 15 elements, including “rights management” SMPTE has prepared a metadata dictionary CEN has created a conceptual metadata framework for multimedia information (MMI) W3C is engaged in numerous metadata activities built on SGML & XML, including 3G wireless applications MPEG has named XML Schema as MPEG’s choice for description definition language (DDL) 35
Metadata in the Transport Stream
XML = extensible markup language, a derivative of SGML SGML = standard generalized markup language, the original Internet language XML & SGML have the ability to distinguish between the display & the content of information XML interoperability standards solve e-ticket problems for airlines 36
Metadata in the Transport Stream
Undesirable characteristics of XML: Verbose & tied to single language Inclusion in non-text data is difficult Linking between metadata objects is not clearly addressed Incremental user extensibility is not possible The SMPTE Data Model already addresses all of these deficiencies.
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Metadata in the Transport Stream
“The SDK makes extensive use of SMPTE 298M Universal Labels for Identification. These have the advantage that they are binary numbers & not tied to…language.” - SMPTE Journal 38
Metadata in the Transport Stream
“A crucial part of the SMPTE data model is the idea of unique content identifiers…used to link the uses of content & the content itself through…an asset-management database.” - SMPTE Journal 39
Metadata in the Transport Stream
“Increasingly, metadata representation in asset catalogs is being converted to the SMPTE Data Model & interfaced…via protocols such as XML & HTTP.” -SMPTE Journal 40
MPEG 4 and MPEG 7
The Internet has evolved from a display based network to a transaction-based network.
MPEG 1 & 2 are display-based technologies MPEG 4 & 7 are transport & control technologies 41
MPEG 4 and MPEG 7
MPEG 4 (ISO/IEC 14496) builds on: 1) digital television 2) interactive graphics applications (including synthetic content) 3) interactive multimedia (World Wide Web, distribution of & access to content) 42
MPEG 4 and MPEG 7
The drivers behind MPEG 4 are: a) Improved management & protection of content-owner rights b) Transparent information for network service providers for native signaling messages c) Higher levels of interaction with content by users 43
MPEG 4 and MPEG 7
MPEG 7 (“Multimedia Content Description Interface”) aims to create a standard for describing the multimedia content data that will support some degree of interpretation of the information’s meaning that can be passed onto, or accessed by, a device or a computer code.
An ISO/IEC standard developed by the Moving Picture Experts Group (MPEG) 44
MPEG 4 and MPEG 7
November 1995: MPEG 7 began October 1998: Call for technologies December 1999: Working draft of standard produced October 2000: Committee draft is due to incorporate results of core experiments 45
MPEG 4 and MPEG 7
“Today’s highly competitive broadcast market is experiencing rapid convergence with Internet distribution technologies.
“Processes are needed that will provide better management of content creation flow & facilitate effective content reuse.
“Metadata technologies offer ways that these needs can be met.
“This technology is expected to deliver cost & efficiency improvements in…content & rights management.” -SMPTE Journal 46
MPEG 4 and MPEG 7
“MPEG 7…is expected to provide richer capability than other classes of metadata…such (as) SMPTE/EBU wrappers…and MPEG 4 object content identifiers (OCI) which support AV object identification.” - SMPTE Journal 47
MPEG 4 and MPEG 7
The relevance of MPEG 7 to the broadcast industry stems from its capability to capture: a) time b) rights ownership c) content description information 48
MPEG 4 and MPEG 7
New services involving the triggering of an A/V storage device when a match occurs between a consumer interest description & a description of transmitted content “EtVCR” = event-triggered VCR “EtPinP” = event-triggered picture-in-picture 49
MPEG 4 and MPEG 7
Frame-based: MPEG 1 & 2 (display) Object-based: MPEG 4 (transport & control) Metadata-based: MPEG 7 (transport & control) 50
Review & Assessment
IFE content may include: a) store & deliver movies & series b) live news & sports c) cached news & sports d) Internet content e) Intranet content f) electronic commerce 51
Review & Assessment
Passengers want “3CTV”: a) choice b) control c) connectivity 52
Review & Assessment
Expect to see from Content Providers: 1) Aggressive efforts at litigation & statutory control 2) Hastened development of an alternative secure network for content delivery; digital cinema 3) Increased control over content via imbedded digital rights management (DRM) 53
Review & Assessment
Expect to see: a) SMPTE guidelines for mastering, transport & physical protection, beginning with digital cinema b) Digital resolution scalable to 4000x2000, transcodable to six, seven or eight levels c) DRM imbedded in the transport stream d) Security including triple-key, triple-DES, watermarking, etc.
e)Digital elements earlier in the process, e.g., digital intermediates 54
Review & Assessment
Five stages in the business process: 1) development 2) preproduction 3) production 4) post-production 5) distribution Now add another step: predistribution processing 55
Review & Assessment
DRM follows content through the entire cycle, all six stages of the business process.
Predistribution processing takes place largely at the time of encoding and transcoding.
Predistribution processing may preclude customization as it is known today.
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Review & Assessment
XML will continue to drive movement of the Internet from display-based, to transaction-based, to collaborative XML, MPEG 4 & MPEG 7 will continue to move the encoding process from just display to transport & control XML is a primary enabler in pervasive computing WML is the XML language of wireless XrML is the XML language for digital rights management 57
“That
Vision
Thing”
Content proprietors will continue to take greater control over IP Digital rights management will be essential DRM will be present throughout the chain Predistribution processing will be a vital new link Entities like SMPTE will expand standards-setting & be a strong element in standardizing predistribution processing There will be little tolerance for variance from these standards 58
“That
Vision
Thing”
Prototype Digital Cinema Network: File resides on QuVIS fileserver (42gigs) Sent via Cisco 7140 VPN router Over DS3 fiber optic virtual private network (VPN) Received via Cisco 7140 VPN router & content cache Routed via another QuVIS fileserver Projected via Texas Instruments’ DLP projector Cinema Connexion by BoeingSM replaces DS3 with a satellite network; otherwise the same 59
“That
Vision
Thing”
Expanding & Integrating the IFE Supply Chain Metadata originates in the order entry portal Metadata is captured in the ordering process & carries forward to become imbedded in the transport stream used for fulfillment Metadata would include information regarding ownership, availability period, versions, languages, subtitles Key management function included in the process 60
“That
Vision
Thing”
1.) Totally visible, vertically integrated supply chain 2.) Digital elements available earlier in the process 3.) Order status & progress instantly available 4.) Clerical burden is reduced 5.) Order entry is simplified 6.) Reporting is fully automated 7.) Industry enjoys a fully-integrated communications network 8.) More content will be available to IFE 61
“That
Vision
Thing”
Based on Internet Protocol (IP) TCP/IP Network Open Systems Architecture Media managers: yes; gatekeepers: no!
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The Future of IFE
In the future, hardware providers will no longer build delivery systems independent of content & sell them to airlines who will demand that content be customized to their specs. Instead, content will be available by way of fixed, multiplexed bitstreams, accessible only by delivery systems designed in accordance with the specifications of those transport streams. Only those systems capable of accessing such transport streams will be viable. MPEG 4, MPEG 7, and DRM will be requirements of such systems. 63