Topic 8 Internet Multimedia Broadcasting 2

Topic X Internet
Multimedia
8 Broadcasting
LEARNING OUTCOMES
By the end of this topic, you will be able to:
1. Outline and discuss the significant changes affecting global
broadcasting and the role and emergence of multimedia streaming
technology.
2. Discuss and evaluate multicast routing technologies and their
application across networks for Internet broadcasting.
3. Evaluate popular Internet multimedia streaming architectures and
identify suitable Internet delivery tools and services.
4. Outline factors affecting multimedia file compression and discuss
codecs suitable for Internet video and audio.
5. Implement and evaluate a small scale streaming media broadcast
radio station using the LAUNCHcast Internet broadcasting
system.
6. Recognize the forces driving m-commerceÊs emergence.
X INTRODUCTION
In this final topic, you move away from the electronic commerce to focus on
Internet multimedia broadcasting and streaming as well as an examination of
M-commerce.
The global broadcasting industry is in a state of transformation, triggered by the

growth of the Internet and the increasing availability of broadband access. The
TOPIC 8 INTERNET MULTIMEDIA BROADCASTING W 211
first part of the topic discusses the effects these changes are having and focuses
on the growth of the Internet broadcasting industry. The first part concludes by
introducing the overall process and technologies of broadcasting and streaming
applicable to the Internet.
The second part focuses on the underlying technologies that facilitate Internet
broadcasting and streaming · routing, multimedia architectures and
compression.
Despite the growth in available Internet bandwidth there is still a need to use
more effective and efficient methods for the routing of streamed media across the
Internet. An overview of the traditional unicast model is outlined, followed by an
investigation of the advantages of using multicasting techniques for more
effective streaming.
The third part begins by investigating the three most popular architectures for
streaming:
RealSystem (includes RealAudio, RealVideo, RealPlayer)
Microsoft Windows Media
Apple QuickTime.
It then moves on to discuss the importance of compression and decompression in

multimedia streaming, the factors that affect the choice of compression
techniques and an investigation of the codecs commonly used on the Internet for
video and audio. Codecs are software components that translate video or audio
between its uncompressed form and the compressed form in which it is stored.
This is then followed by a discussion of the variety of options that exist for
making streaming multimedia available over the Internet, from small-scale
options to those companies offering extended hosting services for clients with
large-scale multimedia streaming requirements.
In the fourth part, we focus on M-commerce.
You should have already set up your own Internet broadcast radio station at
Launch.com (<http://www.launch.com>), using the free LAUNCHcast feature.
This will be used to highlight the use of some of these technologies in practice.
There are two discussion activities in this topic:
Application of streaming technologies for electronic commerce in the Asia-
Pacific Region
MPEG-4 and the electronic commerce opportunities that it might enable.
212 X TOPIC 8 INTERNET MULTIMEDIA BROADCASTING
Begin by viewing the objectives and then move on to explore the influence that
Internet streaming is having on the global broadcast industry in the first section.
INTERNET BROADCASTING AND STREAMING

This part of the topic sets a context for the discussion of the underlying
technologies and services discussed later.
Broadcasting has been around for many years through the media of television
and radio. The Internet provides a new medium for broadcasting activities that
has the capacity to eclipse both radio and television in terms of usage and the
range of services offered. This is affecting a wide range of industries from
entertainment to healthcare and education, leading to the emergence of new
Internet-based multimedia streaming industries.
Before you delve into the technologies associated with Internet broadcasting and
streaming, consider the impact that this new medium is having on the
entertainment industry by reading the following article.
READING 8.1
Bass, T (2002) ÂDigital entertainment post-napster: MoviesÊ
<http://msl1.mit.edu/ESD10/docs/tech_rev_divx.pdf>
This reading has highlighted the recent state of flux that the entertainment
industry is experiencing and identifies some of the trends for change in the music
and animation sectors.
Multimedia streaming technologies have the potential to add value by enriching

the opportunities for content delivery and interaction online. As such, many
industries are adopting new approaches that integrate multimedia content
delivery and network interaction.
This has resulted in the development of a whole new arena of applications for
Internet broadcasting, forcing a redefinition of what broadcasting is and the
particular requirements it brings for regulation, compared to traditional
broadcasting practices.
Changing definitions
As the industry undergoes transformation, the term broadcasting is being
redefined and re-interpreted. In this topic the focus is specifically on Internet
broadcasting, defined as:
The ability to take any type of multimedia content (audio, video, computer,
etc.), digitize it, and broadcast the converted content to anyone in the world
who has an Internet connection and a multimedia-capable computer.
Source: <http://www.streampipe.com/resources/overview.html>
This sets the focus on the Internet, but the term ÂInternet broadcastingÊ is only
one of a myriad of terms that have sprouted up to describe essentially the same
process. For example:
1. Cybercasting
2. Netcasting
3. Webcasting.
You should also be aware that the term ÂbroadcastingÊ is used in the context of
specific types of network routing technology that will be discussed in more detail
later in the topic.
Traditional terrestrial and cable broadcasting industries work within a regulatory

framework designed to protect consumers and guide content providers. The
capabilities of the Internet allow anyone to broadcast whatever content they wish
to a global audience, avoiding the regulatory frameworks set up for traditional
broadcasters.
This has raised many questions for governments in their attempt to agree on
common regulatory frameworks for media distributed through the Internet.
These discussions centre on whether existing regulatory frameworks for
broadcast are appropriate in the context of the Internet.
The view that Internet broadcasting should be treated separately from traditional
broadcasting is widely shared across the industry due to fears of over-regulation.
Recently, the Australian Government has generated a lot of media interest, as it
attempts to clarify whether broadcasting over the Internet is the same as
traditional broadcasting and the regulations that govern it.
READING 8.2
Stuart, K (2000) ÂAlston decides Internet streaming is not broadcastÊ,
InternetNews.com.
<http://www.internetnews.com/intl-news/article/
0,,6_420041,00.html>
This reading highlights the difficulties of regulating the unique opportunities

that the Internet has enabled for broadcasting and acknowledges the need for
completely new approaches to broadcast regulation in the future.
In the conclusion to the reading Peter Coroneos of the Internet Industry

Association (IIA) highlights the problem that many governments are
experiencing.
ÂOur next step will be to push for a full and complete overhaul of this
hopelessly antiquated [Broadcasting Services] Act. In an era of
convergent technologies, it is unbelievable that we have to operate under
a regulatory regime that pretends that you can draw lines to separate one
form of content from another · based purely on mode of delivery.Ê
Waves of change
The changes brought about by the availability of Internet broadcasting and
streaming techniques are transforming the structure and operations of many
industries. This is bringing about waves of change that have sufficient
momentum to revolutionize how end users access and view media in the future.
This section focuses on two industries where Internet broadcasting and
streaming have had a particularly strong impact · traditional broadcasting and
the music industry.
Unlike in the year 2000, a large proportion of traditional broadcasters have now
fully embraced the opportunities available through the Internet. This is discussed
in the next reading.
READING 8.3
Roeder, B (2003) ÂThe future of Internet broadcastingÊ,

Broadcast Engineering, April 1, 2003
<http://www.findarticles.com/p/articles/mi_m0CVJ/is_4_45/ai_
99485769>
As the market for streaming multimedia grows further, it should become clearer
whether the traditional broadcasters will make alliances with the larger end-to-
end service providers or go all out and attempt to build competing Internet
broadcasting infrastructures.
End-to-end service providers are only one of the drivers for change in the way
that media is delivered to users. The content producers themselves are being
forced to restructure their business model and operations to align with the
changes brought about by developments in Internet broadcasting and streaming.
One of the industries most affected is the music industry. The next two readings
discuss the effect that the Internet and multimedia streaming are having on the
music industry and the potential impact on future industry structures and
operations. The second reading includes an introduction to streaming technology
that this topic will build on as you progress through it.
READING 8.4
ÂThe music industry in the digital world: waves of changeÊ

By Mihir Parikh, June 1999
<http://www.ite.poly.edu/htmls/musicwave01.htm>
ÂThe live music industry in the digital environmentÊ
<http://www.musictank.co.uk/events_live_music.htm>
From the first reading, it is worth highlighting the transformation in the structure
of relationships between artists and producers, illustrated in the next figure.
Figure 8.1: Waves of change in the music industry
Placing these figures of the current and emerging models for the music industry
next to one another highlights the fundamental role that the Internet is already
beginning to play. Although the second figure illustrates a predicted model of
the future there is no doubt outcomes similar to this are inevitable and that
media streaming will play an important role. This is largely driven by the artists
and music enthusiasts that sit at the top and bottom of these models, redefining
the role of intermediaries and forcing change.
It is evident that the music industry has not yet fully embraced the potential of
the Internet, but the major Hollywood studios may prove to be one step ahead.
It seems that the availability of movies over the Internet is set to explode and
although some of the resulting services will involve download and play there is
still a significant role for streaming media. High quality streaming over
broadband networks is now a reality. As there is significant growth in the
broadband user base, development is also very strong in cities outside the US like
Hong Kong.
You have seen in these first two sections that Internet broadcasting is having a
significant impact on the traditional ways in which media, particularly audio and
video, are made available to consumers. These changes are not just a fad and are
gaining momentum, and will have an irreversible impact across many industries.
The streaming of media across the Internet facilitates Internet broadcasting

services. The next activity uses your LAUNCHcast station to explore the role that
streaming plays in these changes.
ACTIVITY 8.1
Although your own LAUNCHcast station may have only a very

small influence on the global Internet broadcasting scene (unless you
make it big as an Internet DJ!), it does have a role in the changes that
are taking place in the music industry.
Referring to Figure 8.1, you have seen that the Internet is having an
increasing influence on how consumers access and purchase music
in ÂThe next waveÊ. Based on Launch.com specifically:
1. What role does it play in branding and marketing?
2. What role does it play in supporting music distribution
through electronic commerce?
3. What opportunities does it provide for smaller artists to
promote and disseminate their music?
Internet multimedia streaming

Now that you have an appreciation of the commercial context in which Internet
broadcasting fits, you will begin investigating some of the underlying processes
and technologies of streaming.
Streaming media is delivery of continuous audio, video, and/or text over the
Internet. The media is fed to the user as the media is viewed. In other words, it is
a continuous transaction. This is very different from the typical ÂstatelessÊ
Internet transactions that require all data to be downloaded before the media file
can be accessed. Non-streaming files such as most .wav, .avi and .mov files
download completely to the client computer before they begin to play.
For streaming to work, the client side receiving the data must be able to collect
the data and send it as a steady stream to the application that is processing the
data and converting it to sound or pictures. This means that if the streaming
client receives the data more quickly than required, it needs to save the excess
data in a buffer. If the data doesnÊt come quickly enough, however, the
presentation of the data will not be smooth.
Figure 8.2 below outlines how a media source is converted and then streamed to
users, highlighting the main components of the process.
Figure 8.2: Process of delivering media to users

In Figure 8.2, the media source may be a telephone signal, videotape, video
camera, satellite feed, a computer presentation or any other audio or video
signal. The media source then needs to be digitized (if it is not already in digital
format) and compressed for streaming over the Internet. This stage is called
encoding.
When presentation media are encoded, they must be formatted in a way that
ensures compatibility with the end userÊs computer and Internet connection. The
majority of viewers still access the Internet with 28.8k or 56k modems. While the
broadband user base has increased significantly, the majority of viewers still
access the Internet using a 56k modem.
Although most Internet servers are capable of streaming multimedia, it is

preferable to use a server dedicated to media serving. This enables the use of
software, hardware and network connections that are optimized for more
efficient multimedia streaming, for example the capabilities provided by the end-
to-end service providers highlighted in Reading 8.3.
Users can connect to a media server from anywhere, as long as they have an
Internet connection. Users must be using a software-based streaming media
player that supports the multimedia architecture used. There are a number of
multimedia architectures available for streaming video and audio over the
Internet. The most common of these are:
Apple QuickTime.
It is common to use the terms Âmultimedia architectureÊ and Âmultimedia formatÊ

interchangeably, but they are in fact quite different. Codec Central helps to
clarify these definitions:
Architectures are often called formats, which is misleading. Formats are the file
structures an architecture creates with its codecs, such as a QuickTime Movie or a
Windows Media Video. Besides, an architecture is much more than just a format.
For example, QuickTime controls how streaming media is handled by the
computer, including file conversions, how movies are displayed on the screen,
and much more. Although the various architectures have a lot in common, there
are also quite a few differences between them. Some are dedicated to playback
via the web, others are better for CD-ROM and many work best on a specific
range of computers.
Source: URL: <http://www.terran.com/CodecCentral/Architectures/ index. html>
Codecs are software components that translate video or audio between its
uncompressed form and the compressed form in which it is stored. Codecs and
these three specific architectures are covered in detail later in the topic.
The principal technologies and architectures for multimedia streaming are now
well established and a strong user base has been built. Reading 8.3 highlighted
the attention that consumers are giving streaming media and CyberAtlas
provides more up-to-date information in the next readings.
The first reading from the University of Wisconsin provides many tutorials and
resources for those who are new to streaming technology and need a basic
overview of what streaming technology is and how it works.
ACTIVITY 8.5
University of Wisconsin (2004) ÂUnderstanding streaming mediaÊ
<http://streaming.wisconsin.edu/understand.html>
CyberAtlas (2000) ÂStreaming media use soars to new highsÊ,
Internet.com.
By Michael Pastore
<http://cyberatlas.internet.com/big_picture/traffic_patterns/articl
e/0,,5931_533211,00.html>
CyberAtlas (2000) ÂStreaming media may drive future net growthÊ,
Internet.com.
By Michael Pastore
<http://cyberatlas.internet.com/big_picture/hardware/article/0,1
323,5921_495161,00.html>
Although the figures in the first reading are specific to the US they indicate the
extent of interest in streaming media and the levels of interest that might be
expected in the Asia-Pacific Region as broadband access grows.
The second reading suggests the potential of streaming media as a Âmacro-

growth driverÊ in the InternetÊs future. Notice that the six main growth drivers
mentioned in the report are focused on the role that streaming media might play
in promoting and supporting electronic commerce:
1. Demand for interactivity
2. More effective advertising
3. Business to business broadcasting
4. Improved content distribution
5. Availability of content
6. Innovative applications.
Multimedia streaming has established itself as a significant Internet technology,

with the potential to drive growth in electronic commerce as well as life-long
learning.
This first part of the topic has introduced the extensive changes that broadcasting
over the Internet is bringing to the whole broadcasting industry and introduced
the fundamental concepts of multimedia streaming. The remaining sections of

this topic introduce detailed discussions of the underlying streaming concepts
and technologies introduced above.
ACTIVITY 8.2
Discussion
In earlier topics, you focused on the technologies and growth

associated with broadband and wireless. Both of these will have
enormous impact on the future popularity of multimedia streaming
content in Asia, but are not widely deployed technologies amongst
consumers.
This discussion focuses on how broadband and fast access wireless

can help to drive the growth of multimedia streaming to support
electronic commerce in the region.
Suggested discussion questions

1. As broadband and fast access wireless become more widely
available in the HK/China region, what new electronic
commerce (including online learning) applications that utilize
multimedia streaming might be developed and deployed?
2. What are the inhibiting and enabling factors in the HK/China
region for growth in the use of multimedia streaming for
electronic commerce?
Consider the six drivers for growth in the use and application of
multimedia streaming, highlighted above.
Post your response to these questions and any further issues that they
raise to the discussion board. Read and comment on the postings of
others.
It is suggested that one or two of the student group undertake the role
of making an ongoing summary of the application ideas that are
presented. As the discussion progresses this may well provide an
interesting set of suggestions for new dotcom startups, or for
innovation within existing electronic commerce and online training
Internet broadcast routing

You saw in the previous section (Figure 8.3) the overall process for delivering
streaming media via the Internet and the components that are required by the
provider and the user. In this section the focus moves to the specific network
routing technologies that are used to transport the broadcast media.
Unicast and broadcast

Most of the traffic on todayÊs networks, including the Internet, is unicast. A
separate copy of the data is sent from the source to each client that requests it.
Unicast IP address assignments are relatively static, and any given address is
guaranteed unique on the global Internet.
All local area networks and IP networks support the unicast transfer mode and
you are already familiar with the standard unicast applications that use the TCP
transport protocol · HTTP, SMTP, FTP and Telnet.
Networks also support broadcasting. When data is broadcast, a single copy of the
data is sent to all clients on the network. As such, broadcasting results in the
same message being received by multiple recipients and does not require that
any recipient has requested it.
In deciding what network mask to use, we need to discard the all Â1sÊ and all Â0sÊ.
Visit the following link if you are rusty on the subject:
<http://oliv1.ouhk.edu.hk/~ptsang/ct313/2002/lectures/network-mask.ppt>.
Bandwidth is wasted using either unicast or broadcast, where the same data
needs only to be sent to a portion of the clients on the network. Broadcasting
wastes bandwidth because data is sent across the entire network whether or not
the data is actually wanted. Unicast wastes bandwidth because multiple copies of
the data are sent.
An alternative routing technology for multimedia streaming that addresses this

wasted bandwidth problem is multicasting, discussed next.
Multicasting
Multicasting is a routing technology that minimizes the demand for bandwidth
over a network. Multicasting sends a single copy of the data to only those clients
that request it and thus avoids the problems inherent with unicast and broadcast
routing. Multiple copies of the data are not sent across the network, nor is data
sent to clients that do not wish to receive it.
Figure 8.3 below highlights this distinct difference between unicasting and
multicasting.
Figure 8.3: Unicast and multicast comparison

Like television or radio broadcasting, multicasting follows a push model of

communications, the difference being that whereas television or radio require
receivers to tune their sets to the station that they wish to receive, with
multicasting the user instructs the computerÊs network card to ÂlistenÊ to a
particular IP address. The computer originating the multicast does not need to
know who has decided to receive it.
IP multicast is an efficient, standards-based solution with broad industry support

and is an extension of the IP networking protocol. The technology requires that a
group of receivers participate in a multicast session, ensuring that only those
receivers in the group will actually receive the traffic for that groupÊs session.
READING 8.6
Caruso, J and Gerwig, K (1998) ÂInternetÊs congestion makes

streaming iffyÊ, TechWeb.
<http://www.techweb.com/wire/story/TWB19980302S0022>
Although the Disney service highlighted in the previous reading was

demonstrated in 1998, there is still insufficient bandwidth and the need to more
effectively ensure Quality of Service (QoS) for multicasting, as the reading
highlights.
In summary, IP Multicast enables many new types of application and has the
capability to reduce network congestion and server loads for Internet
broadcasting. Although new applications are being designed to facilitate
multicasting, due to transitional difficulties it is likely to be some time before
multicasting services over the Internet can be provided at a reliable level of
quality to make it a cost-effective option for a smaller-sized enterprise to
implement.
ACTIVITY 8.3
An electronic commerce organization currently streams multimedia
content over the Internet and is considering enhancements to its
current network so that it supports multicast.
1. What are the possible benefits to the end-user?
2. What are the possible benefits to the organization?
3. What inhibitors can you identify for the organization adopting
a multicast solution?
ARCHITECTURES AND COMPRESSION

This section presents an overview of multimedia architectures and associated
compression technologies for Internet streaming.
The three most common multimedia streaming architectures are discussed first:
Apple QuickTime
This is followed by a discussion of the factors that affect the choice of

compression technologies and it outlines those most suitable for Internet video
and audio.
The core of every streaming media technology is the ability to reproduce video
and audio with the highest quality possible at a given data rate. This is done via
codecs (short for compressor/decompressor) which play the role of translating
video or audio between its uncompressed form and the compressed form in
which it is stored. Each of these architectures supports different codecs for the
compression and decompression of data.
Compression technology allows multimedia data to be reduced in size, reducing

the bandwidth required for transmission and thus making it practical to stream
the compressed data over the Internet.
For example, a 24-bit colour video, with 640 x 480 resolution, at 30 frames per
second, requires 26 megabytes of data per second to stream it. Due to the limited
bandwidth available, it would be impossible to stream such uncompressed video
over the Internet.
Before investigating factors affecting compression and specific video and audio
codecs, the next section presents introductions to the three main architectures.
Architectures
RealSystems
RealNetworks homepage: <http://www.realnetworks.com/>
Demo page: <http://www.realnetworks.com/products/>
File formats: The native file format of Windows Media is the Advanced
Streaming Format, or .asf.
RealSystem is a collection of components by RealNetworks for producing and

distributing streaming multimedia. Each of these components has a range of
products, from free limited versions to professional quality versions.

Microsoft Windows Media homepage: <http://msdn.microsoft.com/
workshop/imedia/default.asp>
Demo
page: <http://microsoft.com/windows/windowsmedia/en/compare/tryit.asp >
File formats: The native file format of Windows Media is the Advanced
Streaming Format, or .asf.
The next reading provides a comparison of Real Media Network vs Microsoft.

READING 8.7
View the three major streaming technologies at the following site:
ÂStreaming technologiesÊ
<http://streaming.wisconsin.edu/media/understand/uw_tutorial4.ram>
Microsoft is pushing Windows Media to become a major competitor to

RealSystem and QuickTime, and although new developments are emerging
quickly, the architecture has not yet achieved the same level of maturity.
Apple QuickTime
Apple QuickTime homepage: <http://www.apple.com/quicktime/products/>
Demo page: http://www.apple.com/quicktime/hotpicks/
File formats: The native QuickTime file format is a QuickTime file, generally
.mov, but sometimes .qt or .qti.
Apple QuickTime was one of the first digital video architectures available, but
has recently lost popularity as RealNetworks have attained dominance in the
multimedia streaming arena.
QuickTime is a different type of architecture to the other two, as it supports a

wide range of codecs, particularly the popular Sorenson codec.
The QuickTime architecture still has a role to play as a significant competitor to

the other two, as it incorporates extensive support for many different media
types, across all major platforms.
Before investigating the codecs for the Internet that these architectures support, it
is important to consider the overall factors affecting compression that should be
considered when choosing a codec.
Factors affecting compression

The goal of video compression is to massively reduce the amount of data
required to store the digital video file, while retaining the quality of the original
video. With this in mind, there are several factors that need to be taken into
account when discussing video compression for the Internet:
1. Symmetrical versus asymmetrical

2. Compression ratios
3. Lossless versus lossy
4. Interframe versus intraframe
5. Bit rate control
Symmetrical versus asymmetrical

This refers to how video images are compressed and decompressed. Symmetrical
compression means that if you can play back a sequence of 640 x 480 video at 30
frames per second, then you can also capture, compress and store it at that rate.
Asymmetrical compression means just the opposite. The degree of asymmetry is
usually expressed as a ratio. A ratio of 150:1 means it takes approximately 150
minutes to compress one minute of video. Asymmetrical compression can
sometimes be more elaborate and more efficient for quality and speed at
playback because it uses so much more time to compress the video.
Compression ratios
A second ratio is often referred to when working with compressed video. This is
the compression ratio and should not be confused with the asymmetry ratio.
The compression ratio relates to a numerical representation of the original video

in comparison to the compressed video. For example, a 200:1 compression ratio
means that the original video is represented by the number 200. In comparison,
the compressed video is represented by the smaller number, in this case 1. The
more the video is compressed, the higher the compression ratio or the numerical
difference in the two numbers.
Generally, the higher the compression ratio is, the poorer the video quality will be.
Lossless versus lossy

The ÂlossÊ factor determines whether there is a loss of quality between the original
image and the image after it has been compressed and played back
(decompressed). The more compression, the more likely that quality will be
affected.
Virtually all compression methods lose some quality when you compress the
data. Even if the quality difference is not noticeable, these are considered ÂlossyÊ
compression methods.
At this time, the only lossless algorithms are for still image compression. Lossless
compression can usually only compress a photo-realistic image by a factor of 2:1.
Interframe versus intraframe

This is probably the most widely discussed and debated compression issue. The
intraframe method compresses and stores each video frame as a discrete picture.
Interframe compression, on the other hand, is based on the idea that although
action is happening, the backgrounds in most video scenes remain stable · a
great deal of the scene is redundant.
Compression is started by creating a reference frame. Each subsequent frame of

the video is compared to the previous frame and the next frame, and only the
difference between the frames is stored. The amount of data saved is
substantially reduced.
Bit rate control

The final factor to be aware of with video compression is bit-rate control, which
is especially important if your system has a limited bandwidth. A good
compression system should allow the user to instruct the compression hardware
and software which parameters are most important.
In some applications, frame rate may be of paramount importance, while frame

size is not. In other applications, you may not care if the frame rate drops below
15 frames per second, but the quality of those frames must be of impeccable
quality.
The compression hardware and software should allow you to control these
parameters to suit your specific application. When evaluating digital video
compression systems, look for a system that gives you control. Not all
compression systems allow you change every parameter.
The next section discusses these compression factors in the context of specific
video and audio codecs suitable for Internet delivery.
Internet codecs
This section outlines the available video and audio codecs most appropriate for
use on the Internet media streaming.
Internet video codecs

Video codecs are an important factor in determining what makes a suitable
Internet video technology. Bandwidth on the Internet is still under pressure and
trying to get high quality video to a consumer is not a straightforward task.
To go from uncompressed video to a 28.8kbps modem bitrate requires about

12,000:1 compression, resulting in a poor user experience. This ratio is therefore
critical to the user viewing experience and unless the bandwidth problem goes
away, which is unlikely in the foreseeable future, codecs are needed to make the
file sizes much smaller.
Every codec has its strong points and weak points and you will need to choose
the codec that is most suitable for each application.
MPEG-4
MPEG (Moving Picture Experts Group) is a standard file format and set of
compression algorithms, jointly developed to handle video and audio that is
widely supported across the industry.
The first reading provides an excellent tutorial on compression and encoding for
streaming.
The second reading presents an overview of the MPEG video codecs and their
strengths and weaknesses. You should note that MPEG is often referred to as an
architecture because it has recognized file formats associated with it.
READING 8.8
ÂCodecCentral: Architectures · MPEGÊ
<http://www.terran.com/CodecCentral/Architectures/MPEG.html>
MPEG-4 is the latest development in the MPEG family and is designed to

optimize Internet video. MPEG-4, whose formal ISO/IEC designation is ISO/IEC
14496, was finalized in October 1998 and became an International Standard in the
first months of 1999.
It builds on the proven success of three fields:

1. Digital television
2. Interactive graphics applications (synthetic content)
3. Interactive multimedia (World Wide Web, distribution of and access to
content).
It provides the standardized technological elements enabling the integration of

the production, distribution and content access paradigms of the three fields. The
next reading presents an overview of MPEG-4 and its application on the Internet.
READING 8.9
Optibase (2004) ÂA guide to MPEG-4Ê

<http://www.optibase.com/downloads/mpeg-4.PDF>
Source: <http://www.optibase.com/downloads.asp?inc=white>
The fundamental difference is that MPEG-4 addresses the coded representation

of audiovisual objects, both natural and synthetic. As a result, the Systems layer
must address how these objects are composed together to form a scene
(composition information or scene description), as well as how a user may
interact with such objects (interaction).
In addition, the object-based architecture necessitates changes in the way

audiovisual information is multiplexed. In particular, it has a very flexible
multiplexing structure and does not specify a transport layer facility as MPEG-2
does.
It has been questioned whether MPEG-4 has relevance for Internet applications
in view of the widespread dominance of MicrosoftÊs Windows Media and
RealNetworksÊ RealSystem. Despite this, there is broad potential for MPEG-4,
especially in the wireless sector for personal digital assistants. These appliances
are based on chip sets and not downloadable software and they could drive the
introduction of MPEG-4 content.
RealSystem and Windows Media architectures focus to a large extent on the low
bit-rate spectrum whereas MPEG-4 will benefit broadband applications that want
to offer rich media streaming and interactivity.
It is evident that there is market potential for MPEG-4 to have a significant

influence on future electronic commerce developments related to streaming
media.
ACTIVITY 8.4
Discussion
In the first discussion you explored the electronic commerce/online

applications that streaming media might enable and possible
inhibitors and enablers to further development.
Now extend the discussion to incorporate the new possibilities that

MPEG-4 will enable for streaming media, once the final standards
have been drafted.
Suggested discussion topics
MPEG-4 will allow extensive interactivity through the spatio-

temporal positioning of individual audiovisual objects within a
scene.
1. What specific opportunities might this enable for its
application in electronic commerce?
2. What specific opportunities might be enabled for use with
wireless devices in particular?
3. What influence may MPEG-4 have on the future of electronic
commerce?
4. Considering the electronic commerce streaming applications
identified in the previous discussion, which of them might be
enhanced by using MPEG-4?
There are extensive resources on the Internet related to MPEG-4

and you should undertake some further research on the Internet
before posting your responses.
Remember to comment constructively on the comments and

opinions of others.
Internet audio codecs

There are many codecs available for the compression of audio data. This section
will outline the three most widely used and supported audio codecs suitable for
streaming on the Internet:
1. Windows Media
2. RealAudio
3. QDesign Music Codec.
In addition a brief description of the MPEG Layer 3 (MP3) codec is given, as

although this is not generally used for streaming, it is by far the most prevalent
audio format.
Windows Media
Windows Media Audio (WMA) is the primary codec for audio compression in
MicrosoftÊs Windows Media Technologies. The WMA codec is similar to MP3,
with two main advantages. It is significantly better suited to low bit rates
(especially around 8-64 kbit/sec) and in general, it produces better quality at a
given bit rate than MP3.
Support: Windows Media
RealAudio
RealAudio was the first major codec family to support realtime streaming of
media on the Internet. The RealNetworks multimedia architecture was originally
audio only and the audio codecs remain a strength.
There are many different RealAudio codecs. Each codec is named according to
the data rate it produces, and the type of content for which it is best suited.
Support: RealSystem
QDesign Music Codec (QDMC)

The QDMC is optimized for instrumental music, allowing very high quality
reproduction even when streaming over a 14.4 or 28.8 modem. The QDMC also
handles vocal music well, although more complex clips may require slightly
higher data rates.
In general, the QDMC provides superior quality to MP3 audio at low data rates
· below about 48kbits per second, but the quality will drop noticeably as the
data rate increases. QDMC also places a moderately high load on the CPU.
Support: QuickTime 4
MPEG Layer 3 (MP3)

MPEG Layer 3 (commonly known as MP3) is a very popular standard for
delivery of music on the Internet. It produces very high quality audio, most
commonly around 16kBytes (128kbits) per second. These data rates do not
support modem streaming, so MP3 files are generally downloaded for later
playback. MPEG Layer 3 is part of the MPEG standard.
Support: Windows Media, QuickTime 4
Codecs are central to the three multimedia architectures discussed earlier,

making it possible to stream multimedia even though limited bandwidth remains
a problem. It is important that you consider codecs in the context of the users and
the connection speeds they have when choosing an appropriate compression
technology and associated architectures.
In the final section of this topic, factors to consider in choosing an architecture are
highlighted and the range of hosting options that are available are discussed.
For those with an interest in the mathematics behind compression technology in

multimedia, the following optional reading provides a useful and updated
tutorial on the topic from a more technical perspective.
READING 8.10
Optional
WAVE (2004) ÂVideo compression tutorialÊ
<http://www.wave-report.com/tutorials/VC.htm>
Architecture and serving solutions

Now that you are familiar with the underlying technologies and architectures
associated with multimedia streaming, this section discusses factors to consider
in choosing an architecture to use and the subsequent hosting solution that
delivers it.
Evaluating and choosing solutions

As you see, all three of the major architectures offer sophisticated feature sets and
capabilities, but how do you choose between them? Waggoner offers a useful set
of criteria upon which to base your evaluation of a suitable option, for any given
situation:
1. Video codecs
2. Audio codecs
3. Multiple data rate support
4. Rich media support
5. Platform support
6. Market share
7. Cost of deployment
The next reading from Waggoner uses these criteria to specifically evaluate the
three major architectures.
READING 8.11
Waggoner, B (2002) ÂCompression for great digital videoÊ

ÂPower tips, techniques & common senseÊ
<http://img.cmpnet.com/cmpbooks/pdfs/157820111X_toc_excerpt.pdf>
This reading helps to clarify the different benefits and weaknesses of each
architecture, but highlights that the feature sets of each are becoming so similar
that it is difficult to make a choice between them.
To serve the largest audience, RealSystem certainly seems to have an edge. If you
have specific needs, such as the quality achieved with the Sorenson codec, use
the architecture that best supports it. In reality, most of the major sites that use
streaming media offer a range of options for users, but this may involve more
time and cost to encode in a number of formats.
It is worth noting that the latest versions of all three architectures support
multicasting and are designed with the upcoming MPEG-4 standard in mind.
The competition amongst them seems to be getting stronger with every new
version.
Although each of these architectures has its strengths and weaknesses, they are
not able to overcome the overriding restrictions imposed by limited bandwidth
on the Internet. Until broadband access is widely available none of them will be
able to truly show what they are capable of delivering to consumers in terms of
an experience that at least matches that of television and cable.
Along with determining the streaming architectures that you will use, you need
to establish the way in which the media will be served, discussed in the next
section.
Streaming tools and services

This section highlights your own efforts as an Internet broadcaster and discusses
the options for hosting streaming media.
With the setting up of your own LAUNCHcast radio station you can see that you
do not have to be a media producer to be an Internet broadcaster. Obviously, it is
necessary to accept the complimentary advertising that helps to make the service
free, but the benefits of Launch.com acquiring, managing and hosting the content
for you cannot be underestimated.
This is not the only service of this type and if you wish to take this direction to
become an Internet broadcaster you should investigate and evaluate the feature
sets of other services, for example, Live365.com uses quite a different feature set
and business model. There are also interesting variations on the approaches of
Launch.com and Live365, such as Radio Destiny (<http://www.radiodestiny.
com/broadcast/index.shtml>), but you will need a permanent Internet
connection to host an Internet broadcasting service. When accessing
radiodestiny.com, you will be automatically redirected to pirate radio,
<http://www.pirateradio.com/>.
At the next level are the options for streaming media producers, and here the
first question is whether to own and manage your own server or use a hosting
service. The next reading includes a useful set of factors to consider to help
determine whether an in-house or external hosting option would be right for
your own organization.
READING 8.12
Streaming Media World (2004) ÂEasy streaming video services (5):

Main stream servicesÊ
<http://www.streamingmediaworld.com/video/reviews/ezvservices
/index5.html>
The Servidia factors affecting a hosting decision highlight the level of investment
that might be required to host in-house, emphasizing the more cost effective
solutions that these media streaming hosts provide.
Although using stock video from video libraries such as eterniTV might help you
find appropriate content in your area, do not rely on it as a single source. Use
stock video to enhance the range of streaming media content that you offer.
The convert and host arena has grown rapidly, with many new services
appearing on the market. The variations in the service features are quite broad in
this category and the prices vary beyond basic hosting charges, such as disk
space and throughput allowances.
Before signing up for a monthly deal with a convert and host service, ensure that
you really need a specialist streaming media host. Many ISP hosting packages
already include provision for streaming the three main architectures with
Internet connections of comparable speeds. You may not need to consider
specialist software such as RealServer until you need to use the more advanced
features and capabilities of the architectures.
In summary, it is possible to split the hosting options into four main categories:
1. Host directly from your existing Web server · either internally within
your company or through your existing ISP.
This is not only the most popular method of hosting streaming video, but
also the preferred method for most companies with low to mid-range
streaming video hosting needs, as it does not require any additional
expenditure and works just fine for many applications.
2. Host from your existing ISP's video server.
If your existing ISP has a video server that is part of your hosting package,
this option will allow you to use the functionality of the video server
software if you have a specific need or reason to do so.
3. Host from an ISP specializing in high bandwidth throughput.
If your actual hosting needs exceed the bandwidth you are already paying
for, you may want to consider any number of ISPs who have bandwidth
suitable for larger scale usage such as streaming video.
4. Host from an online provisioning company specializing in streaming video
hosting and applications.
These companies specialize in providing higher bandwidth, high
simultaneous hits, reporting tools, content management, pay-per-view
deployment, and a higher level of quality of service. Companies like
iBeamcan also provide deployment across a network of distributed server

locations to improve quality and reliability of service.
The Further resources section of this topic includes links to additional vendors
offering these types of service, for your reference.
This part of the topic began by introducing you to the main streaming media
architectures, factors affecting compression and codecs used for video and audio
on the Internet. The final part has discussed factors that affect choosing
architectures and the range of streaming media hosting options available.
The final activity of the topic uses the Launch.com site to investigate the
application of streaming media technologies, drawing together the major topics
of this topic.
ACTIVITY 8.5
This activity compares the strengths and weaknesses of the three

architectures in the context of the services provided at Launch.com.
1. How specifically does Launch.com use these architectures? For
example, does any of the streaming media content take
advantage of specific features associated with each of them,
such as options for integrating Flash media into RealSystem
videos?
2. What features of the architectures does Launch.com not use,
that might enhance the user experience and promote electronic
commerce?
3. How are other multimedia formats integrated with the
streaming media presentations? For example, how is Flash
media used to enhance the user experience and compliment
the streaming media?
4. How might the new features that will be available in MPEG-4
be incorporated into the streaming media content available at
Launch.com to improve the interactive experience and
promote electronic commerce activity?
You may wish to extend the previous online discussion activity on

MPEG-4 to include these questions for discussion.
Launch.com uses the iBeam (<http://www.ibeam.com>) hosting

service. Note: you will be redirected to TalkPoint Communications
<http://www. talkpointcommunications.com/>.
5. Why specifically do you think that iBeam is a suitable choice of
host for Launch.com?
6. What services and features offered by iBeam does Launch.com
not use, that it might take advantage of to better promote
electronic commerce?
THE EMERGENCE OF M-COMMERCE

What is m-commerce?
In its simplest sense, mobile commerce (m-commerce) can be defined as
commercial transactions accomplished via a mobile device. However, people
tend to disagree on their understanding what ÂmobilityÊ means. For example, m-
commerce might include any of the following:
online purchases made through a laptop connected on the move via short-
range wireless in locations such as airport lounges, train stations, offices, etc.
topping-up a mobile wallet with cash for ticketless travel on motorways, the
underground, etc.
purchases ÂtaggedÊ by a consumer in a physical store and placed in an online
mobile shopping basket for purchase at a later time
(Ref: http://www.m-commerceworld.com/)
As the range of activities performed via a mobile device itself grows over time,
the definitions of m-commerce may also be enlarged.
Technology and applications of m-commerce

Driven by the advances in wireless technologies and devices, m-commerce is
believed to be the next wave of opportunities for many people.
The following three articles provide a key summary of the technologies and
applications of m-commerce.
READING 8.13
Senn, J (2000) ÂThe emergence of m-commerceÊ, Computer.

READING 8.14
Alcatel (2004) ÂM-commerce is movingÊ
<http://www.alcatel.com/lead/mcommerce.html>
Finfacts (2004) ÂM-commerce internet statisticsÊ
http://www.finfacts.com/inttele.htm
In this topic you have explored the growing dominance of Internet broadcasting
and streaming multimedia technologies.
Global broadcasting is undergoing a major transformation, as a result of the

immense growth of the Internet and the increasing sophistication of streaming
multimedia architectures. You have seen how this is affecting definitions of the
term broadcasting, requiring the review and updating of traditional regulatory
frameworks set up to govern broadcasting.
There is no doubt that the Internet is one of the greatest drivers for change,
forcing traditional industries to reconsider how they use network multimedia to
promote and support electronic commerce activity.
Following an overview of the fundamental concepts and components in

multimedia streaming, you saw how IP Multicast offers a glimpse at the future of
Internet broadcasting. Despite the advantages it offers for conserving bandwidth,
the technology still needs to mature and reach a wider audience before multicast
can make a big impact on Internet broadcasting.
Architectures and the compression codecs they support are at the core of
effective multimedia streaming and each has its strengths and weaknesses. You
have investigated factors that affect the choice of codecs and the major Internet
codecs for Internet video and audio. In particular, you have explored and
discussed the benefits of the new MPEG-4 standard, and hopefully identified
some potentially successful electronic commerce applications that might take
advantage of MPEG-4.
You have investigated the principal features of each of the architectures and, in
the final section, explored the streaming media hosting options that are open to
you. The rate of development of these architectures and the codecs they support
is very fast, as the major players vie for a dominant position in the streaming
multimedia market.
Now that you have a background on these topics and the state of the art at the
end of 2000, you should look out for news of new developments and the new
capabilities they enable. In particular, the next few years will be interesting in the
Internet streaming market, as new applications are developed around the MPEG-
4 standard and the interactive capabilities that it enables.
It is clear that the phenomenal growth in the Internet and electronic commerce
has not yet slowed and the technologies associated with it are developing fast to
keep pace.
Your next challenge will be to try and keep abreast of these new developments
and the effect that they will have on the future development of electronic
commerce, particularly in the Asia-Pacific Region.

Topic 8 Internet Multimedia Broadcasting 2

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Topic X Internet

The global broadcasting industry is in a state of transformation, triggered by the

It then moves on to discuss the importance of compression and decompression in

In the fourth part, we focus on M-commerce.

INTERNET BROADCASTING AND STREAMING

Multimedia streaming technologies have the potential to add value by enriching

Traditional terrestrial and cable broadcasting industries work within a regulatory

This reading highlights the difficulties of regulating the unique opportunities

In the conclusion to the reading Peter Coroneos of the Internet Industry

Roeder, B (2003) ÂThe future of Internet broadcastingÊ,

ÂThe music industry in the digital world: waves of changeÊ

Figure 8.1: Waves of change in the music industry

The streaming of media across the Internet facilitates Internet broadcasting

Although your own LAUNCHcast station may have only a very

Internet multimedia streaming

Figure 8.2: Process of delivering media to users

Although most Internet servers are capable of streaming multimedia, it is

It is common to use the terms Âmultimedia architectureÊ and Âmultimedia formatÊ

Source: URL: <http://www.terran.com/CodecCentral/Architectures/ index. html>

The second reading suggests the potential of streaming media as a Âmacro-

Multimedia streaming has established itself as a significant Internet technology,

the fundamental concepts of multimedia streaming. The remaining sections of

In earlier topics, you focused on the technologies and growth

This discussion focuses on how broadband and fast access wireless

Suggested discussion questions

Internet broadcast routing

Unicast and broadcast

An alternative routing technology for multimedia streaming that addresses this

Figure 8.3: Unicast and multicast comparison

Like television or radio broadcasting, multicasting follows a push model of

IP multicast is an efficient, standards-based solution with broad industry support

Caruso, J and Gerwig, K (1998) ÂInternetÊs congestion makes

Although the Disney service highlighted in the previous reading was

ARCHITECTURES AND COMPRESSION

This is followed by a discussion of the factors that affect the choice of

Compression technology allows multimedia data to be reduced in size, reducing

RealNetworks homepage: <http://www.realnetworks.com/>

Demo page: <http://www.realnetworks.com/products/>

RealSystem is a collection of components by RealNetworks for producing and

Microsoft Windows Media

The next reading provides a comparison of Real Media Network vs Microsoft.

Microsoft is pushing Windows Media to become a major competitor to

QuickTime is a different type of architecture to the other two, as it supports a

The QuickTime architecture still has a role to play as a significant competitor to

Factors affecting compression

1. Symmetrical versus asymmetrical

Symmetrical versus asymmetrical

The compression ratio relates to a numerical representation of the original video

Lossless versus lossy

Interframe versus intraframe

Compression is started by creating a reference frame. Each subsequent frame of

Bit rate control

In some applications, frame rate may be of paramount importance, while frame

Internet video codecs

To go from uncompressed video to a 28.8kbps modem bitrate requires about

ÂCodecCentral: Architectures · MPEGÊ

MPEG-4 is the latest development in the MPEG family and is designed to

It builds on the proven success of three fields:

It provides the standardized technological elements enabling the integration of

Optibase (2004) ÂA guide to MPEG-4Ê

The fundamental difference is that MPEG-4 addresses the coded representation

In addition, the object-based architecture necessitates changes in the way

It is evident that there is market potential for MPEG-4 to have a significant

In the first discussion you explored the electronic commerce/online