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with online ordering, pricing, and stock availability information beamed into the electronic catalog, without the viewer s being aware that it is not coming from the DVD disk. What the customer sees is a seamless experience, which is both attractive and up to date. Whether or not this is a transitional technology while coverage for broadband connectivity is patchy remains to be seen.
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There is more than one way to skin a cat, as the old adage goes. This is as true for streaming media as for anything else. There are many technologies that can be used to complete a streaming media chain, from producer through distributor to end-user. Many of the technologies are proprietary, though some are open standards. This section will discuss the basic elements of streaming media, in general terms, then make reference to specific implementations and technologies. The aim is to understand the process, rather than implementation specifics, in the first instance, then to illustrate the different approaches various implementers have taken to solve the same set of problems.
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The main building blocks of streaming media are discussed in the following sections, which explain compression technology, packaging of the streaming data, and distribution over a network. We explain how the media is played and then look at some extras that can make streaming media give a better quality of experience to the viewer. For illustration, we ll talk about technologies that stream across the Internet, since these are well known and more easily understood. However, the reader should remember that this is not the only way to stream media. Before we can describe how streaming media works, we need to spend a little time on some digital media fundamentals. It is important to understand how video and audio get to be digital in the first place and how sampling works. We also need to explain how the digits become sound and pictures once more. If you already understand analog-to-digital and digital-to-analog conversion, just skip ahead to the next section. What we perceive as sights and sounds, physicists understand as variations in light intensity and vibrations of air molecules. We see things because our retinas respond to variations in light intensity. We hear because we have ears sensitive to minute variations in air pressure. Brains attached to those sensors (the eyes and the ears) continuously take measurements of light intensity and air pressure and turn the data into visual and audible experiences. So, to recreate a picture or sound at a distance, all you have to do is take measurements of light intensity and air pressure rapidly enough, transmit that data through some transmission path and then recreate the light intensity and air pressure according to the data you received. Cathode ray tubes can recreate varying light intensities. Loudspeakers can recreate air pressure variations. With analog reproduction systems, there is a continuous stream of information from the sensor to the reproducer. For example, when Edison invented his phonograph, the sensor was a large acoustic horn that wiggled a needle in response to variations in air pressure gathered by the horn. The continuous wiggling could be recorded on a wax cylinder. The groove in the wax would be analogous to the variations of air pressure detected by the horn. If the same needle were then excited by the recorded wiggles in the wax, the horn would vibrate in response to the movement of the needle as it followed the groove in the wax. Air pressure variations, the same as those that were recorded, would be recreated, and ears could hear these as sound. If the recording process were perfect, there would be no way that the ear could tell the difference between a real sound and a recorded and reproduced sound. But the recording process isn t perfect.
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