Transcript The Internet & New Networking Technologies Advisory Panel

The Internet & New
Networking Technologies
Advisory Panel
Michael Childers
LightStream Communications
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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
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Content Services Provisioning:
1. Transaction Processing (TP)
 2. Cassette Quality Control (CQC)
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Proposition:
That the TP/CQC value proposition is
d’entre les morts, rendered obsolete by
emerging technologies
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New Networking Technologies:
Peer-to-peer (P2P) computing
 Decentralized open source software
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Enabling the transfer of files from client
to client without central control
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A technology called DivX:
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DeCSS emerges as the decryption key that breaks
the Content Scrambling System (CSS) for DVD
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Hackers reverse-engineer MPEG 4 to reduce the size
of DVD files to fit onto conventional CDs
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DeCSS & the reverse-engineered MPEG 4 are
combined to create “DivX”
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So, what do we have here?
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The decryption key defeating DVD copy protection is
available on Websites around the world.
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The compression technology enabling placement of a
DVD file onto a CD is available on Websites around
the world.
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Decentralized open-source software makes it possible
to send pirated copies from peer to peer without
central control
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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.”
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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.”
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Esther Dyson, technology newsletter
“Release 1.0”:
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“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.”
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From The Wall Street Journal:
“Hollywood, your nightmare is
here!”
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3 Basic Ways to Protect IP:
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1) By statute
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2) By contract
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3) By business practices
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5 Categories of Contractual &
Statutory Protection
1)
 2)
 3)
 4)
 5)
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Copyrights
Patents
Trade Secrets
Trademarks
Mask Works (such as the negatives used to create
silicon chips)
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The Evolution of Statutory Protection
in a Digital World
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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
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3 Landmark Court Cases:
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Napster:
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DeCSS:
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MP3:
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Recording Industry Association of America (RIAA)
challenges Napster’s fileswapping.
Motion Picture Association of America (MPAA)
challenges 2600 Enterprises’ use of DeCSS on a Website.
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:
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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?
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There now exists an ad hoc network, Internet-based,
that makes illegal copying of movies, music & text
relatively easy & virtually undetectable.
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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...
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“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?
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“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:
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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
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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 billion annually in 35mm print cost &
transportation.
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
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Stand-alone digital projection using
physical delivery media devices,
manually operated within the cinema.
Digital and film will co-exist from now
through 2001
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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
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Digital Cinema: Phase 3
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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
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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
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Expanding Digital within the Supply Chain
Digital /film production
 Digital intermediates
 Digital /film distribution
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“Digital intermediates” are replacing
film elements between production &
distribution.
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Expanding Digital within the Supply Chain
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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
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The Standards for Digital Cinema:
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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
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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
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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
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The Standards for Digital Cinema
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Using transcoding to create:
1) digital edit master (140-270Mbps)
 2) archive master (60-80 Mbps)
 3) digital cinema release master (3545Mpbs)
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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)
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The Standards for Digital Cinema
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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
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Metadata in the Transport Stream
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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)
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Metadata in the Transport Stream
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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)
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Metadata in the Transport Stream
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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
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Metadata in the Transport Stream
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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
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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
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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
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MPEG 4 and MPEG 7
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The Internet has evolved from a displaybased network to a transaction-based
network.
MPEG 1 & 2 are display-based technologies
MPEG 4 & 7 are transport & control
technologies
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MPEG 4 and MPEG 7
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MPEG 4 (ISO/IEC 14496) builds on:
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1) digital television
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2) interactive graphics applications
(including
synthetic content)
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3) interactive multimedia
(World Wide Web,
distribution of & access to content)
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MPEG 4 and MPEG 7
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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
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MPEG 4 and MPEG 7
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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)
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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
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MPEG 4 and MPEG 7
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“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
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MPEG 4 and MPEG 7
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“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
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MPEG 4 and MPEG 7
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The relevance of MPEG 7 to the broadcast
industry stems from its capability to capture:
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a) time
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b) rights ownership
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c) content description information
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MPEG 4 and MPEG 7
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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
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MPEG 4 and MPEG 7
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Frame-based: MPEG 1 & 2 (display)
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Object-based: MPEG 4 (transport & control)
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Metadata-based: MPEG 7 (transport &
control)
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Review & Assessment
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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
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Review & Assessment
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Passengers want “3CTV”:
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a) choice
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b) control
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c) connectivity
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Review & Assessment
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Expect to see from Content Providers:
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1) Aggressive efforts at litigation & statutory control
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2) Hastened development of an alternative secure
network for content delivery; digital cinema
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3) Increased control over content via imbedded
digital rights management (DRM)
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Review & Assessment
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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
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Review & Assessment
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Five stages in the business process:
1) development
2) preproduction
3) production
4) post-production
5) distribution
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Now add another step: predistribution processing
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Review & Assessment
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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.
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Predistribution processing may preclude
customization as it is known today.
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Review & Assessment
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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
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“That Vision Thing”
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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
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“That Vision Thing”
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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
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“That Vision Thing”
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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
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“That Vision Thing”
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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
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“That Vision Thing”
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Based on Internet Protocol (IP)
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TCP/IP Network
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Open Systems Architecture
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Media managers: yes; gatekeepers: no!
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The Future of IFE
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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.
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