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in September 2001 and MPEG-21 won t be ratified until early 2003. MPEG is a working group of the International Organization for Standardization (ISO) based in Geneva. It works in conjunction with its sister organizations, the ITU (International Telecommunications Union), a United Nations agency that maintains standards for telecommunications and broadcast and the IEC (International Electrotechnical Commission), which produces standards on electrical and electronic matters. Some of the codec technologies in MPEG-4 have ITU designations. The MPEG body actually resulted from a 1987 decision to merge the activities of the ISO Technical Committee on Data Processing with the IEC Technical Committee on Microprocessors. One of the subcommittees of this joint technical committee, established in 1988, was the one dealing with Coding of Moving Pictures and Audio, which was subsequently nicknamed MPEG. Two important industry associations promote MPEG-4 adoption. The Internet Streaming Media Alliance (ISMA) is a consortium dedicated to accelerating the adoption of open standards for streaming media over the Internet (see www.isma.tv). Founding members include Apple, Cisco, IBM, Kasenna, Philips, and Sun Microsystems. The ISMA aims to realize the exciting promise of streaming media by developing a single standard for consumers, service providers, network operators, equipment suppliers, and content providers. The other industry association is the MPEG-4 Industry Forum (www.m4if.org), which seeks to foster communication and cooperation between MPEG-4 technology adopters and vendors. The aims of MPEG-4 were to:
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Maintain independence of applications from lower-level details, while maintaining technology awareness to promote scalability and error robustness Provide usable results over a wide bit rate, ranging from a few kilobits per second to a few megabits per second Reuse encoding tools and data from previous MPEG standards Support identification and management of digital rights Provide interactivity and hyperlinking with individual audiovisual objects simultaneously Handle natural and synthetic information, as well as real-time and non-real-time information, in an integrated fashion Provide the capability to composite and present information according to the user s interaction and needs, as in Virtual Reality
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Performance Streaming media benefits from excellent coding efficiency and robustness in error-prone environments such as the Internet. Interoperability A cross-platform open standard that can run on a multitude of devices and work well at all supported bit rates, over a variety of delivery networks and technologies. Scalability Video quality can be adjusted in response to network congestion in a media format that is encoded once and played anywhere. Interactivity Since a scene is composed of individual media objects, users can manipulate each one individually. Animated objects can be mixed with natural objects. The user can discard media objects at the player, making it possible to view any objects desired.
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When people think of video, they normally think of what the camera sees. They think of a linear sequence of snapshots, played back fast enough to create the illusion of motion. Every picture is a rectangular object, containing background, foreground, etc. Similarly, the usual way of thinking about audio is as a CD track, where the sound comes out premixed and produced, as a stereo or mono sound image. Interactivity, with this kind of thinking, is limited to playing, pausing, fast-forwarding, rewinding, skipping to a location, or playing at a faster or slower rate than real time. I call this way of thinking about audio and video the flat earth perspective. However, what do we really look at when we view the real world What do we really hear when we listen What we see are individual entities people, trees, furniture, the room, the landscape, insects, flowers, birds, clutter. When we listen, we hear individual people speaking, background noises, the general ambiance of the room, individual musical instruments playing their parts. There are audio objects just as there are video objects. These Audio Visual Objects (which MPEG-4 calls AVOs) have a relationship in space and with each other. As the listeners and viewers of the scene, we also have a spatial relationship to the objects. What we see and hear depends crucially on that relationship. MPEG-4 allows each of these objects to be encoded in a way optimal to the nature of each object and permits each of these elemental AVOs to be streamed to end-users as elemental streams, via a variety of delivery channels. The MPEG-4 player then receives and reassembles the individual AVOs into a scene and allows end-users to manipulate the position in space of every audio and video object. What they ultimately see and hear depends on their choices.
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