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Digital television has become more interactive, using proprietary standards and more open ones, such as ATVEF (Advanced TeleVision Enhancement Forum), as a platform for interactive content. These technologies add interactive features to digital television broadcasts, synchronizing media elements to moving pictures. Contestants can play along with game shows at home. Educational programs can be supported with a wealth of interesting facts and activities to engage viewers. Unfortunately, the interactivity for any given digital television program is not written once and then deployed to all set-top boxes. Depending on which interactivity platform particular set-top boxes support, the producers of the show must write a specific interactivity package to accompany their program for each platform they wish to address. End-
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user experience is often not entirely satisfactory anyway, with slow load times and limited freedom of exploration. To compound this, some interactivity platforms deployed on set-top boxes also lack software robustness, causing them to crash and freeze inexplicably. In contrast to this, streaming media can already link to a vast array of standard synchronized Web elements; yet allow exploration to the entire Web, starting from when the program is viewed. The walled gardens of interactivity that the broadcasters offer violate Metcalfe s law, which says that the value of a network is in proportion to the number of nodes connected. Technologies like SMIL (Synchronized Multimedia Integration Language), on the other hand, allow streaming media producers to create regular Web-style graphical elements and coordinate them with other audiovisual elements, without resort to specialized software programming. Indeed, it is technically possible, though not widely done, to create synchronized multimedia presentations that synchronize from device to device. In other words, you can theoretically create content that shows video on one device, displays Web pages on a second, and plays audio from another, yet maintains perfect synchronization of all elements. Interactivity on digital television systems typically makes use of leftover bandwidth to transmit the interactivity data. For example, in the ATVEF standard, the interactivity data is typically broadcast during the vertical interval of the video signal. This severely limits the amount of interactivity that can be used in creating the content. Streaming media places no such restriction on the interactivity data accompanying a video stream. As long as the carrier bandwidth is sufficient, the amount of interactivity data has no hard and fast limit. Streaming media programs can therefore be more interactive than digital television ones.
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Most people are shocked and amazed when they first learn that videotape bought in the US cannot be played in England, without a specialized video player (or vice versa). Equally alarming is the discovery that a collection of DVDs amassed while living in Australia cannot be played on a European player, without clandestine software hacks. The reason for this incompatibility is regional standards. Whereas the US adopted the NTSC (National Television Standards Committee) television system, most of Europe adopted PAL (Phase Alternating Line), except for countries that adopted SECAM (Sequential Couleur Avec M moire). With DVD players, most of those bought in the US support only NTSC, while
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most European players support both NTSC and PAL. However, even in the case where both regions support PAL, disks bought in one region are not playable by unmodified players in the other, due to the region coding embedded in the disk s data. With streaming media, it is currently the case that a stream can be played anywhere on the globe, regardless of where it is sourced, provided that the right player is installed. The potential for a truly global standard for audiovisual distribution is tantalizingly close. However, the problem with streaming media is that not all players can play all streams, since companies that create streaming media compression schemes often jealously guard their software as proprietary trade secrets. It is for this reason that coalitions like ISMA (Internet Streaming Media Alliance) are pushing for a single, player-neutral, global standard, based around MPEG-4. With streaming media content, there are no difficult standards conversion issues, as there are when you need to play some NTSC television program on a PAL receiver. Today, you need to play the tape into a standards converter, which changes the number of lines, the number of pixels per line, and the number of frames per second, to accommodate the other television system s requirements. In essence, the content must be resampled, or sample lattice converted. These issues do not vanish entirely for streaming media, since to be totally correct and introduce no motion artifacts, streaming video ought to be sample lattice converted according to the characteristics of the computer monitor that will display the video. However, sample lattice conversion is much simpler with streaming media, since there is no interlacing of the fields as there is with television signals.
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