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If every streaming media receiver could also act as a streaming media cache and proxy, then content could be served from user one to user two, without resort to a stream delivered from either the origin server or an edge cache colocated at a POP. In other words, every consumer could become a streaming server as well. The edge of the network would, in essence, move to the very fringe of the network: the end-users machines. Peer-to-peer (P2P) replication by downloading was made popular by applications like Napster. Unfortunately, although P2P was tremendously convenient for end-users, since they could find any number of
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sources for media content they wished to download, it was a disaster for content owners, since they lost control over their assets, with consumers freely and illegally copying their precious content without paying royalties. Eventually, content owners used the law to curtail the illegal peerto-peer copying of digital media assets. However, if strong encryption and rights management solutions are successfully developed, there is little to prevent content from being streamed once from the origin server, and then subsequently streamed from one consumer to another. There are a number of companies actively developing peer-to-peer replication solutions today, including vTrails, Groove, Kontiki, and Allcast. The potential exists for all the quality-ofservice advantages and bandwidth and storage cost reduction advantages that have driven the growth of edge caching to extend all the way to the individual consumer s machine, provided that broadband networks become the norm.
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We have touched on rights management in our discussions of Microsoft s Windows Media Technologies and RealNetworks media commerce solutions. These are proprietary answers to the rights management problem. Apple s QuickTime does not at present provide a comprehensive rights management solution. The problem with all the proprietary systems is that they don t readily interoperate and they don t protect the rights of everybody involved in the media transaction, instead providing sticks with which content producers may beat consumers, should they choose to do so. As we will discuss in a future chapter, there are efforts to standardize digital rights management, and the leading one seems to be the MPEG21 initiative. The proprietary digital rights management systems proposed work by encrypting or otherwise locking streaming media data, so that it cannot be played or copied until you obtain a digital key. This means that the player has to be tamper resistant. It also means that the transaction required to play a piece of streaming media now involves more parties than the client and the server. In addition, there is more computational overhead on the player software, since it must decrypt on the fly, as well as render the content for playback. Widevine Technologies Inc. is taking an interesting approach to digital rights management. This involves encrypting UDP and TCP/IP packets after they leave the streaming media server and decrypting the
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packets between the network stack and the player software application on the client side. This scheme has the advantage of working with any stream that uses UDP or TCP transport (i.e., all of them). Other vendors, such as SecureMedia and PassEdge, have similar products. The company calls this on-the-fly encryption, in contrast to Microsoft s approach of encrypting the media files on the media server, which Widevine calls pre-encryption. Pre-encryption, such as Windows Media DRM, secures media files sitting on a server from unauthorized theft. Someone who hacks into the server and copies the media file can t play it without a key. However, preencryption is not suitable for live broadcasts, since the media can t be encrypted until the entire file is complete. Pre-encryption also implies that each file can be decrypted with a single key, meaning that copies of the file broadcast to users are identical. If the key becomes known, anyone who has the file can decrypt it. Keys are not usually released illegally by brute force hacking, since strong encryption techniques make this sort of cracking uneconomical. Rather, keys usually find their way into the public domain when an employee or trusted party leaks one or more keys. This could obviously be disastrous if all a particular content owner s media assets were encrypted using a single key. Pre-encryption is fine as far as it goes, but a better solution is to add on-the-fly encryption as well. In this scenario, the client player negotiates a secure channel (using public-key exchange) at the beginning of each streaming transmission. The file s actual key can be transmitted over this secure channel. This way, the key is stored only in the computer s working memory, making it much harder to determine (although a dedicated hacker could find it). However, because each stream uses a new key, even if one stream s key is obtained, the key is useless to others who might want to view the stream, or even for a later instance of the same stream. Thus, with two levels of encryption, using both preencryption and on-the-fly encryption, the media file resident on the media server would be protected against illegal copying, and streamunique keys would individually protect the streams. Unfortunately, the security of Microsoft s Windows Media DRM is highly dependent on the assumption that the application on the enduser s machine that claims to be Windows Media Player is, in fact, the trusted application and not an impostor designed specifically to defeat the DRM security measures. Since the Windows Media Player includes the code to manage the encrypted licenses, it is subject to reverse-engineering attacks. The downloadable nature of the media files, combined with the static encryption needed to make the client license model
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