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We don t have microphones that can discriminate between individual sound sources, recording only those sounds we wish to capture. We don t have cameras that can pick out individual objects in space and record only those, discarding all other visual information surrounding the object. To encode naturally occurring scenes and soundscapes into MPEG-4, we must either accept a static flat-earth version, transmitting that to the end-user, or else we must use signal-processing techniques to analyze the data to pick out the individual objects. How this is achieved is the subject of considerable research, at present. However, we can quite easily generate computer animations and synthesized sounds. MPEG-4 allows us to mix these synthetic computer-generated objects with our natural objects, sending either a compressed representation of the objects to the end-user, or else a series of parameters that allow generation and animation of the object at the end-user s machine. Using chroma-keying techniques, actual people can be filmed against a green screen (which is relatively easy to remove with a computer) and superimposed on natural or synthetic backgrounds, or a mixture of the two. Similarly, individual sounds can be recorded in soundproof rooms and composited to create an overall soundscape. Anyone familiar with the recent BBC TV series Walking With Dinosaurs witnessed the mixture of natural and computer-generated images and sounds to create the convincing illusion of photo-realistic dinosaurs roaring at rivals and roaming the earth. With MPEG-4 coding, every dinosaur and background plate could be streamed and manipulated independently by the end-user, as could each sound, the closed-captioned narrative, and the on-screen titles and graphics. What MPEG-4 lacks, however, is explicit support for interactions between individual audio and video objects. For example, video objects cannot cast shadows on other objects in the scene, cannot radiate light onto other objects (radiosity and reflections) and cannot detect collisions with other objects. MPEG-4 scenerendering processes are not as sophisticated as the three-dimensional video game-rendering architectures found in specialized graphic processors, such as the Nvidia GeForce series, though this is an obvious area for future standardization and work. Although RealNetworks, Microsoft, and Apple can stream audiovisual information, they can only transport a fixed view of the information to the end-user. MPEG-4 goes far beyond the underlying audio and video compression technology. Each of these companies claims to have an ISOcompliant MPEG-4 codec, but what they really mean is that they have adopted the MPEG-4 compression standards, not the full-blown decomposition into individual AVOs and the user manipulation of each of them. At least not yet.
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The MPEG-4 standard provides a set of technologies to support:
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The coded representation of arbitrary-shaped AVOs, whether natural or synthetic, in real time or non-real time The way individual AVOs are composed in a scene The way AVOs are multiplexed and synchronized, so that they can be transported over any network channels providing a quality of service appropriate to the specific nature of each AVO or the user s requirements A generic interface between the application (i.e., the player) and the transport mechanisms The way the user interacts with the scene (changing the viewpoint, for example) and the individual objects in a scene The projection of the scene so composed on the desired viewing/listening point
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MPEG-4 standardizes a number of types of primitive AVOs, capable of representing both natural and synthetic objects, which can be two or three dimensional. Additionally, MPEG-4 also defines coded representations of objects such as text and graphics, talking heads, and the associated text needed to synthesize the speech and animate the talking head at the user s end, as well as animated human bodies. MPEG-4 coding provides tools for representing natural sounds, such as speech and music, and for synthesizing sounds based on structured descriptions. The audio representations allow for text descriptions of what musical notes to play and for descriptions of instruments. MPEG-4 also provides for parameterized control of reverberation and aural spatializations. The advanced audio coding (AAC) of the specification provides stunning encoding of natural audio at much lower bit rates than the popular MP3 encoding (MPEG-1 Layer 3 audio). Synthesized sounds can be generated based on structured inputs. Text can be converted to speech, while more general sounds, including music, are synthesized in accordance with a musical score, which may be in MIDI format (Musical Instrument Digital Interface). The text-to-speech converter allows use of prosodic parameters to modify pitch, contour, phoneme duration, and so on, to provide for more natural-sounding and intelligible speech generation. It also allows facial animation control with lip shape patterns or with phoneme information, pausing, resuming, or jumping forward/backward through the text. The standard also supports international text and phonemes. Finally, MPEG-4 allows for manipulation of audio on the end-user s machine, to provide special effects such as reverberation, compression, equalization,
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