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All the audio and video that ever existed in an archive, anywhere in the world, could one day be available as on-demand streaming media. Assets that were effectively dead could once again begin to earn revenue for their content owners. Conversion of old film and sound archives to streaming media would preserve our audiovisual heritage.
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Applications of digital media to make precious and fragile archives more accessible have already been pioneered by the British Library, for example. The Library has digitized the pages of rare and precious first editions and created a computer simulation that allows online readers to leaf through those books virtually, reading the pages as if in real life. If those actual first editions had been read by as many people as have used the digital simulation, the books would have crumbled and disintegrated by now. With digitized content, the reader can see the book as it appears, margin notes and all, without destroying or degrading it. For audio and video archives, this is also true. Archives of film stock and magnetic recording tape become extremely fragile with age. Magnetic tape, on which most of our recent video history is stored, lasts only about ten years, before it is necessary to dub to a new tape. Storage costs are enormous, as are the costs of periodic dubbing and restoration. The process of playing an old tape or showing an old film can significantly degrade the asset. If these could be digitized just once and then made available through streaming media servers, rarely seen or heard events from history would be available to all. It is anticipated that this will comprise a significant amount of the streaming media available in the future.
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If the law tells you let the buyer beware then whatever buyers can do to make themselves aware of what they are buying and from whom, will be like insurance for them. People buy things using online auctions sites like eBay every day. Yet the buyer could be anyone and the goods might not be as good as they appear in the still photographs posted on the auction site. Reports of fraudulent behavior by sellers using online auction sites to cheat unwary customers are a major source of consumer complaint. Streaming media technology makes it possible to inspect an article you wish to buy virtually. The goods can be modeled in three dimensions. Using one of the many virtual-reality streaming technologies available, such as MPEG-4 3D add-on X3D (eXtensible 3D), the buyer could manipulate the model in three dimension and view it, as if inspecting in person. The technology allows buyers to avoid having to buy pigs in pokes.
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Much of the streaming media content available for viewing is likely to be telepresence material that allows people to tour virtually holiday resorts, homes, or architectural layouts for new kitchens, before they buy. They may walk the route to a destination of interest in cyberspace before they ever attempt the journey in real life. Products may be demonstrated in closeup detail, allowing customers to see every aspect of the product before making a purchase. Indeed, retailers and tradeshow organizers might use telepresence streaming to entice you to visit their store or exhibition.
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Retailers are seeing shopping as more and more of an entertainment experience. Extreme retailers are making use of digital cinema presentation equipment to show free in-store content, in an immersive and impressive environment. Of course, interspersed with the content are the ads, which customers must sit through in order to complete the fun experience. E-commerce sites can fight back aggressively by making their sites just as attractive and entertaining, with companies moving toward making online shopping fun, rather than presenting potential customers with a dry and boring online catalog, as many do today. Streaming media underpins all this content production and distribution. It would not be surprising for a major label (Coca-Cola, for example) one day to provide some of the most entertaining content available anywhere. Retailers may become more prolific media producers than media companies.
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