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I recall being taken in the early 1970s to our local town hall by my father to hear a lecture on science. A popular scientific writer of the day, whose name now escapes me, was on tour lecturing, to workingmen and their families who lived in the heavy industrial town of my childhood, about the wonders and sheer unimaginable scale of the universe we inhabit. Armed with mere lecture notes, a lectern, a modest public address system, some spotlights, and a bank of 35mm slide projectors, he proceeded to enthrall us with dissolves and wipes, as one image melted into another, aided by a dramatic narrative, tasteful lighting effects, and the unfathomable darkness of the auditorium itself. I was instantly transported across the vastness of time and space in my imagination, with commentary seemingly from the voice of God himself. It awakened in me a lifelong passion for cosmology and astronomy. I recount this incident only to illustrate the profound and lasting impact that can be made with simple synchronized multimedia (provided that the subject material is compelling and the presentation authoritative). With streaming media, it is possible to create virtual slide shows more breathtaking than the one that changed my life as a child. Text and graphic elements can be synchronized and timed against video and audio elements, with active links to sidebars that contain more detail about particular elements. Those sidebars may even contain more video. In-picture elements, tied to the field, can be embedded into the video, allowing sophisticated overlays, and perhaps even advertisements and product placements, to be included, customized for each particular viewer. Indeed, the technology exists to present those synchronized multimedia presentations not just to a PC desktop, but also to an entire auditorium. Using modern digital light projection systems and super-high-resolution streaming, cinemalike multimedia presentations can be delivered from nothing more powerful than a laptop computer to a town hall-sized audience! The wonderful sound and light show I experienced as a child earned money for its presenter. He sold tickets, people came, and he put a monetary value on the information he had to present. Of course, he had to subtract production, travel, equipment, and advertising costs, but he made a living at it. There was no other way he could present what he knew to an audience as specialized as the one he attracted at a time when there were only five television channels available to us and where only the popularity of Hollywood blockbuster movies helped local cinemas do a little better than break even.
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Today, that same presentation I enjoyed in my youth could be streamed to a worldwide audience, on demand, in a more compelling fashion than ever before. Indeed, the content could be changed so that every single viewer experienced a different path through the presentation. For the presenter, the benefits are obvious. No longer must he endure the rigors and privations of life on the road, nor does he have to pay quite so much for the equipment to mount the presentation. However, until pay-per-view solutions and broadband networks evolve, it is difficult to charge money for the content, as was possible at the town hall. Nevertheless, the technology will undoubtedly arrive soon, and then we should expect to see a flood of life-changing synchronized multimedia suddenly available. The open standards that make synchronized multimedia possible on the Web include Dynamic Hyper Text Markup Language (DHTML) and Synchronized Multimedia Integration Language (SMIL). However, there are many others, including proprietary quasi-open standards like Macromedia s Shockwave. On television set-top boxes, interactivity of this type is carried using a number of proprietary and open protocols. There are many ways to produce and deliver synchronized multimedia. Indeed, the problem for content producers is the sheer number of incompatible standards for authoring such presentations and the need to use particular tools to cater to each. Content producers currently face the daunting task of recreating their material for each distribution method and standard, or else of limiting their audience by choosing just one or two to support. This acts as a significant barrier to the wider adoption of the technology. There are just too many incompatible ways to do what, to the audience, looks the same. The pressure for standardization is great and will continue to increase, until the problem is solved for content producers.
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