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sharing of video did not have sufficiently high bandwidth connectivity to make the system workable. Even with digital music, users with highspeed connections often had to wait several minutes, to download music files. Until broadband connectivity becomes the norm, peer-to-peer sharing of streaming video content will not be easy or fast.
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With few notable exceptions, mobile networks, at the time of writing, have insufficient bandwidth to enable streaming media applications (other than simple voice communications). Third-generation networks are not here yet and those in trial have unearthed bandwidth-limiting issues that remain to be resolved. The promise has not yet been fulfilled. In addition, handsets currently available for mobile applications have not been thought through specifically for streaming media communications. Beyond adding a cursory camera and painting video pictures to slow-response, poor contrast, and viewing angle LCD screens, little thought has been given to the design of the applications or the underlying streaming performance of the operating system upon which they must run. The next generation of handsets and PDAs will make better use of streaming media. Most mobile operating systems available today have their roots in isolated island of technology designs. They were originally formulated to be self-contained picocomputers, running handy applications for making notes and remembering phone numbers and appointments. Connection to networks was added on, almost as an afterthought in most cases. Yet connectivity is a fundamental property of streaming media, which mobile operating systems struggle to support well. Synchronization to other machines and data sources is also a vitally important property of mobile operating systems. Support for synchronization varies markedly in sophistication from platform to platform. In the future, we can expect to see devices optimized for streaming media communications, including streaming cameras, PDAs with fast response screens, and mobile streaming media software applications that are easy to use. We ll also begin to see wireless, but not necessarily mobile, devices designed for installation in the home, which will bring streaming media into our lives more and more. We ll also begin to see streaming media in the car. These devices are still on the drawing boards, or only available as prototypes.
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Producing streaming media is a labor-intensive process. Storyboarding, scripting, shooting, editing, and post-production processes require time and skilled people. Even though the tools used in these processes keep getting cheaper and more productive, there is an ultimate limit to how much technology can do to lower the costs of production. Yet production costs must fall. Even before streaming media emerged, the fragmentation of broadcast television audiences was already taking place. People had more to choose from, so each program made had less money to play with in production. Budgets were already under pressure. Addressing the craft-shop nature of media production is the only way to solve the problem. Production companies need to adopt a few production-line techniques. What counts more is not the artist s sensibility to choose precisely the correct shade of blue or getting the light in exactly the right place, after eight hours of experimentation, but how productively an artist can produce quality work. Desktop tools are an obvious necessity and many improvements can still be made to these tools, as standalone packages. However, the tools for workgroup media production facilitation, like media management tools, file sharing systems, production planners, and organizers and automated sign-off and review procedures are still in their infancy. Most digital media production plants still battle with the need to transcode files from one format into another so that they can be passed from operator to operator and tool to tool. Much of the media passed around the production plant goes by foot. Catalogues of media assets are patchy and incomplete. Standard templates and ways of working are not well codified. Media production is not unlike software production. Tools, which have been developed for configuration management and version control in software production, can be readily adapted to media production. Most streaming media production today takes place downstream from regular and expensive television production. This means that the streaming media presentation mimics television programming, thereby missing out on the more exciting opportunities for creating more engaging programming offered by the streaming medium. It also means that the production process cannot be optimized for streaming, to take advantage of cost savings available when one does not need to produce for television. For example, in the case of live studio production, it is almost impossible to obtain digital production switchers and automated lighting and camera controllers, which make use of cheaper fluorescent lighting systems and consumer-grade low-light digital cameras. All the available equip-
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