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The IETF has a working group charged with designing protocols for the management and coordination of multiple sessions and their multiple users, in multiple media (for example, audio and video). The working group is called the Multiparty Multimedia Session Control Working Group (known as mmusic). It has defined a number of draft protocols, such as Session Description Protocol (SDP), Session Directory Announcement Protocol (SDAP), Session Announcement Protocol (SAP), Simple Conference Control Protocol (SCCP), and Session Initiation Protocol (SIP). None is yet standardized. Clearly, multicasting is an important technique for many streaming media applications, but it remains a work in progress, which has not yet been integrated into many production routers.
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Professional audio and video producers have developed techniques, over decades, for improving the sound and appearance of audio and video respectively. Sometimes called sweetening, it can be seen as a method of codec steering, in a streaming media context. If the producer emphasizes some aspects of a program, while de-emphasizing others, through judicious use of color correctors, graphic equalizers, and other signal processors, the compression codec, whose job it is to throw away information you won t mind losing, is presented with signals that have already been graded to eliminate unwanted signal artifacts. In this case, the codec can use its bandwidth budget to encode aspects of the sound and pictures that the producer wants to be noticed. A full catalog of the possible audio and video processing techniques that may yield better encoded and compressed streaming media is beyond the scope of this book, but these techniques are in widespread and daily use at the best streaming media encoding labs. (Some of the more popular techniques are introduced in Appendix C.) Grass Valley Group s Aqua streaming media encoder includes many signal processing options, which enable skilled operators to present the encoding software with the best possible signals. Popular signal processing techniques include deinterlacing, where the television scan is converted into successive frames of video, which register exactly on one another, rather than moving by the video line typical of interlaced transmissions. Progressive-
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ly scanned images have less motion jitter, so encoders can do a better job of predictive coding from frame to frame. Another technique to remove motion jitter is inverse telecine. When a film is made, it is typically shot at 24 frames per second. To show that film on television, which has a rate of 25 or 30 frames per second, depending on where you live, the machine transferring the film to video inserts duplicate frames, from time to time, in a process known as pull-down. (In fact, for 25-fps television, the 24fps film is often just played back at the faster 25 fps rate, so that everything moves more quickly and the voices all sound higher. The movie s running time is also shortened.) The result is motion jitter, since something that was moving slowly across the screen now takes momentary pauses, as a result of the duplicated frames. Before encoding to streaming media formats, these duplicate frames must be removed. When motion jitter is minimized, the encoding software can spend more of its bits encoding dynamic features of the picture, rather than poorly rendering each frame. The fewer pixels that change from frame to frame, the better the compression algorithm can do its job of reducing the data rate, without changing the look of the images. Skilled audio and video producers can use audio equalization and color correction techniques to enhance the material, so that the colors are more vibrant than they could ever be in real life and the sounds are crisper and more clearly defined than they were when recorded. Hollywood has used these techniques to enhance the audience s experience of feature films for decades. With streaming media, ordinary content producers can use desktop tools to sweeten their own productions with the same facility as big Hollywood studios do. With skill, independent content producers can create streaming media works that rival the very best movies in terms of look and sound.
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