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varispeed playback, flanging, chorus effects, etc. It can also position sounds in three-dimensional surround-sound fields and allow the user to remix the audio track, emphasizing or de-emphasizing individual sonic elements. Visual objects, as we have already mentioned, can be of either natural or synthetic origin. Natural objects can be textures, images, or video. The standard provides tools for efficient compression of images and video, treating rectangular imagery as a special case of arbitrary-shaped video objects. It also provides for efficient compression of textures for texture mapping onto two- and three-dimensional meshes. Efficient compression of implicit two-dimensional meshes and the time-varying geometry streams that animate meshes is also included. The standard allows random access to all types of visual objects, extended manipulation of images and video sequences, content-based coding of images and video, content-based scalability of textures, images, and video; spatial, temporal, and quality scalability and error robustness and resilience in error-prone environments. MPEG-4 encompasses all the video compression techniques of MPEG-1 and MPEG-2, plus new VLBV (Very Low Bit rate Video) compression techniques and new content-based encoding. For error robustness, MPEG-4 provides mechanisms for resynchronization, when data is lost. Because MPEG bit streams can be decoded forward as well as backward, once synchronization is re-established, the decoder can back up the data it received after the packet loss, using the data already received to reconstruct the video stream. This is the data recovery feature of the standard. Finally, separating motion data from the texture can conceal errors. Whereas MPEG-2 specified seven video profiles, MPEG-4 provides for no less than 38. (See Appendix A for a detailed description of MPEG-4 profiles.) MPEG-4 also provides several techniques for adapting to the varying bandwidths of the network carrying the streams to the end-user. In stream switching, a user is switched to another stream, encoded at a lower bit rate, when network congestion is detected. With temporal scalability, some frames of the program are sent in a separate stream that can be turned off, preserving image quality, but reducing the frame rate at the player. With fine granular scalability (called FGS in MPEG-4 parlance), high-frequency detail in the images is sent in separate enhancement streams, parts of which can be discarded as needed, maintaining the frame rate and reducing the image quality. FGS may also use temporal scalability techniques. This suite of techniques contrasts with Microsoft s Windows Media Technologies Intelligent Streaming and RealNetworks SureStream technology, which only provide for stream switching.
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Synthetic visual objects are coded in a manner similar to VRML (Virtual Reality Modeling Language). MPEG-4 allows for the creation of things that are not live, like tables and chairs, etc. However, VRML is poor at representing faces and human bodies. MPEG-4 Face is an object capable of producing faces in the form of three-dimensional polygon meshes, which can be rendered. A Facial Definition Parameter stream and/or the Facial Animation Parameter sets control the shape, texture, and expression of the face. Similarly, the MPEG-4 Body is an AV object capable of producing virtual human body models and animations, controlled by the Body Definition Parameter set and Body Animation Parameter set. MPEG-4 image compression is based on wavelets, which is a good choice, since wavelets degrade much more gracefully at high compression ratios, losing some detail but retaining good color quality and remaining artifact free. Video compression is largely based on H.263, which traces its roots to the MPEG-1 standard. Microsoft officials have claimed that noncompliant versions of the MPEG-4 codec can exploit several limitations in the standard to boost quality by over 30%. As a result, MPEG-4 is the first standards-based video codec that actually delivers less quality than its competitors, at the time of adoption. However, the MPEG-4 standard is broad enough to incorporate a range of very creative encoding techniques, so it is extremely likely that we will witness the development of higher-quality MPEG-4 codecs in the future. However, interoperability between platforms is compromised if the encoding techniques require different decoding strategies from those used by the ISO-complaint video decoder. Interestingly, MPEG-2 encoder vendors have consistently found ways to improve image quality, even though the standard was set in stone many years ago. I am unable to comment on whether or not interoperability between different manufacturer s implementations was compromised as a result, though anecdotal broadcast industry evidence suggests it may have been. MPEG-4 provides a standardized way to compose a scene, allowing:
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AVOs to be placed anywhere in a given co-ordinate system Grouping of primitive AVOs in order to form compound AVOs Application of streamed data to AVOs to modify their attributes Interactive changes to the user s viewing and listening points anywhere in the scene
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MPEG-4 s language for describing and dynamically changing the scene is named the Binary Format for Scenes (BIFS). BIFS commands are available not only to add or delete objects from the scene, but also to change
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