Streaming Video for the Masses

by Reno Marioni 19 Jan 2001

Reno Marioni lives in jolly ol' London as a technology and digital media consultant. In the past he's
worked for Sun's Object Products group and Java-based startup Marimba. He also founded the
Adventure Zone Network.

Page 1

Just a couple of years ago, producing your own short movie meant going to film school,
raising a lot of money, buying expensive equipment and looking for distribution via film
festivals.

Basically, it was out of reach for most people. Today, with the right talent and desire, we all
have a shot at being filmmakers for 1/10th or 1/20th of the cost. A whole new creative world
has opened up, thanks to the advent of several new consumer technologies: high-quality and
low-priced digital video, powerful desktop PCs, inexpensive and easy-to-use video editing
software and a new distribution channel on the Web.

And as broadband DSL and cable modem access increase, so will the audience for digital
video on the Web. In addition to the Internet, numerous new devices and appliances will be
available to distribute your work. We are already beginning to see short videos on airplanes,
in hotel lobbies, on handhelds and through interactive TV.

To produce and showcase your own digital video involves several key steps:

a. Shoot your video footage (use an analog or digital video camera)

b. Capture (input video onto your Mac or PC hard drive using a Firewire connection or video
capture card)
c. Edit (use consumer-level software video editing tool)
d. Compress/Encode (use bundled video editing tool or dedicated video compression tool)
e. Distribute (to Web, CD, DVD, etc.)
In this article, we're going to focus primarily on the encoding and compression process with
special emphasis on encoding for the Web, which as you'll find out is a fine art.

Page 2 — Video Encoding

What is video encoding and why is it important?

First of all, digital video files are HUGE. Roughly five minutes of uncompressed video will
consume nearly one gigabyte of space on your hard drive, and no one - not even your
adoring mother -- is going to download or stream a video that large. So compression helps
you optimize the video while retaining the highest quality possible for distribution on the
Web.

Before compressing/encoding video for the Web, you need to consider the following settings
and criteria:
1. What Video Format/Architecture (QuickTime, Real, Windows Media)?
2. What Data Rate?
3. What Frame Rate?
4. What Window Size?
5. Streaming Method: Progressive or Real-time?

The file compression process begins when you take your edited video clip and encode to a
particular video format -- e.g., QuickTime, Windows Media, or Real Media -- and compress
the file size to output to either CD, DVD, or the Web. Encoding for the Web is the trickiest
part as there are far more variables to deal with, such as constrained bandwidth, which
results in jerky, annoying videos on the Web.

In order to encode a steady sample, it's important to have a well-shot video source. This is
why you don't see many MTV-style videos on the web -- the transitions are too fast, rapid
camera movement doesn't compress well, and you're likely to have jerky, delayed images,
even when compressed at a low frame rate.

Before encoding your edited video files you have to ask yourself the following questions:

a. Which streaming method is best for my setup, progressive (HTTP) or Real-time (RTSP)
streaming?

b. What format do I want to use (Real, QuickTime, Windows Media, or other)?

c. What is my delivery mechanism (Web, CD, DVD, etc.)?

d. If output is for the Web, what Web connections am I targeting (56k modem, ISDN,
DSL/Cable, T1)?

Page 3 — Pick a Stream, Any Stream

There are two main types of streaming: progressive streaming (on demand) and real-time
streaming (live or in real-time). Progressive streaming takes a compressed video file and
downloads it to your hard drive via HTTP over the Internet. Real-time streaming is usually
broadcast to your browser directly from a server. Real-time streaming uses RTSP (real time
streaming protocol) so you'll need access to a special video streaming server.

Progressive Streaming

Progressive streaming is the easiest route for beginners as it requires no special server, such as a
streaming server. You can use a standard Web server to upload your compressed video file.
Quality is generally better using progressive streaming than with real-time. And once you decide
to play the video online, the whole file begins to download to your hard drive. Progressive users
also can't jump ahead to other sections of the video.
Depending on the format of the video (such as Real), some progressive files may require you to
download the entire video before playing it. This creates one of those annoying "hurry up and
wait" scenarios. Thankfully, QuickTime supports a 'fast start' feature which automatically kick-
starts your video player as it downloads.
Page 4 — Real-time Streaming

Unlike progressive streaming, real-time streaming requires a special streaming server. This
can be a QuickTime Streaming Server (RTSP), a Real Networks Server or a Windows Media
Server.
Video streamed for real-time plays automatically. You don't need to download the entire
video before playing. You can jump to any location in the video clip. And the clip always
resides on the server. Video encoded for real-time streaming generally tries to keep pace
with the user's connection speed in order to minimize interruptions and stalling. There's
nothing you can do about general Net congestion, but the streaming server at least tries to
compensate by maintaining a constant connection.

You'll find real-time streaming is best suited for longer videos -- such as live event
broadcasts, presentations, training videos and lectures -- where users can skip ahead to
other parts of the clip and don't have to download a huge video file. It also offers good
protection for your content as users can't download it to their hard drives and redistribute
your work. Unfortunately, the video quality isn't as good with real-time as with progressive.
But getting quality video on the Web is all about trade-offs.

If you're just starting out, you might want to create a simple Web page, encode your video
using a progressive streaming method, and embed the clip into your site. Or, if you're
determined to stream the video, you might consider using a third party and their servers.
Companies such as Media 100 and Sorenson Broadcast Services offer a range of encoding,
hosting and streaming services.

IPage 5 — Video Architectures and Codecs

The three main video formats on the Web are RealVideo, Quicktime and Windows Media. When
choosing a video architecture and format, you need to evaluate current market trends and also
decide which is the best fit for you and your audience.
Currently, RealVideo is the most popular and widespread video format used on the Web. Real
recently released version 8, but you must buy the server software to use it; the cost after software
purchase is based on connection usage. Windows Media from Microsoft is also widespread and
is currently in version 7. Although Windows runs its own proprietary server protocol (not the
standard RTSP), it's free and it runs on the widely available Windows Server Platforms.
QuickTime Streaming Server from Apple, the third major format, is based on RTSP. It's an open
standard and available on multi-platform servers from UNIX to NT. As Apache is to Web
servers, QuickTime Streaming is to video servers. And the best part is it's free. Many
professionals believe QuickTime offers the best quality, as well as the elegant interface that
Apple products are famous for.
Video Codecs:
In order to understand video compression, you first need to become familiar with "codecs" and
how they work. Codec stands for compression/decompression, and it's the piece of software you
use to compress very large files, such as video or audio, into much smaller files that can be sent
out to multiple media. Normally, you will choose a codec according to the video format you are
using.

For example, Sorenson Video 3 codec from Sorenson Media is compatible with the QuickTime
format and is the de facto codec for QuickTime Video compression. Real Video 8 codec runs in
conjunction with Real Server. The same compatibility issues apply to audio codecs such as
Qdesign Music Pro for QuickTime. Codecs generally come bundled with your video editing
software or with compression suites such as Media Cleaner. Every year, new and improved
codecs are released to make files even smaller, while encoding faster and producing better
quality video.
You'll probably use one of the following codecs for video compression:
a. Sorenson Video
b. RealVideo
c. Windows Media Video
d. MPEG-1, MPEG-2, MPEG-4
e. H261/H263
f. On2
n an age of instant gratification, this is a great feature and QuickTime is the only major video
architecture that supports it for now. For that feature alone, QuickTime is much better suited for
progressive streaming than RealVideo 8 or Windows Media 7.
In general, progressive streaming works best for videos under three minutes, such as movie
trailers, and the shorts you see on sites such as Apple Quicktime TV, iFilm, Atom Films, and on
home video sites such as Share Your World.

Page 6 — MPEG-4

Although Windows Media, Quicktime and Real Media are the major players, an open format
called MPEG-4 holds great promise and could become the de facto video codec standard in
the same way that MP3 has become the dominant format for music on the Web. MPEG-4
has momentum behind for several reasons:
1. Ubiquity: Streaming video today is mostly viewed on the Web, but the future in
streaming video will be far more prolific across multiple devices, appliances, platforms and
computers. Streaming Video will be seen in hotel lobbies, supermarkets, airplanes,
videophones, TVs and more. MPEG-4 appears to be the codec and standard for future
devices to come.
2. Unified Standard: Today, there are many codecs. The problems that people face is
sorting out which codecs to use with which video architectures in the encoding process. The
job would be far easier for digital media professionals if people could encode just once for all
platforms and devices.
3. Quality: MPEG-4 appears to be the most efficient encoding standard and will encode at
incredibly high-quality over the most constrained bandwidth requirements. From what we
have seen, people will be able to have full screen VHS quality video. Sorenson media is
developing an ISO-compliant MPEG-4 codec, as is Microsoft for use in Windows Media.
The bottom line is that MPEG-4 will be awesome in quality and will be embedded into many
new and exciting devices.
Video Encoding:
The vast majority of video content creators use Media Cleaner Pro from Terran Interactive
as their full-service compression/encoding suite. It's an essential software package and is
widely used in the digital entertainment industry. The Media Cleaner Pro EZ version is priced
around $250 per copy, and more often than not it comes bundled with popular video editing
tools.
Here's how a sample encoding process might go:
Once you've finished editing your video using software such as Apple's iMovie or Final Cut
Pro, Adobe's Premier, Media100 CineStream and Cleaner EditDV or Microsoft's Moviemaker,
you save and export the edited clip to a folder on your desktop.
In some editing suites such as EditDV or Premiere, you can export directly from the editing
tool into Media Cleaner Pro, removing an extra step in the encoding process. Once your clips
are in a compression suite such as Media Cleaner Pro, you're ready to prepare the clip for a
particular distribution medium. You then go through a series of check box options, which
determine the size of the clip, the data rate, the frame rate, etc. Media Cleaner, for
example, allows you to select your video format (e.g. QuickTime), your delivery method
(e.g. Web), your data rate (e.g. for 56k-modem), your frame rate (e.g. 10 frames per
second), and the size of your video viewing area (e.g. 240 x 180 pixels).

Page 7 — Real World

At Adventure Zone Network, we use Final Cut Pro as our editing tool, Adobe After Effects for
composing and effects, and Media Cleaner Pro v5 for compressing and preparing each video
file for output. We also use Real Video 8, Sorenson Developer 2.1, and Windows Media 7 as
our primary video codecs and Qdesign Music Design for preparing audio files for QuickTime.
We also use Real Audio.
We use Apple G4s for editing and encoding our videos. There's not an Avid system in the
house. Everything is done digitally, on the desktop, and all the software is available at
consumer level prices. To see some streaming video samples that use these codecs and
tools, go to the Channel Zero section and see videos from around the globe.
We shoot video using mini DV tapes (NTSC) as our source and capture digital video using a
Firewire (IEEE1394) connected to the Firewire port of our Apple Macs. We don't generally
use an analog source, as it creates an extra step to convert to digital using a Sony DMA-200
digital converter. As well as the standard Firewire connection, you can use a video capture
card such as those produced by Osprey to capture video at the source into your computer
for editing. Without a doubt, you get the best results using a digital video camera hooked up
to your computer via Firewire. All the latest Mac systems include a Firewire port.

Page 8 — The Trade-offs

The optimal goal is to produce the highest quality video that streams with minimal or no
interruptions and a quick download. For Web delivery, this means trade-offs.
On one hand, if you produce a high quality video with a high frame rate (regular movies
play at 24 frames per second), a large viewing window, and a high data rate, you will get a
video that looks great but will only be viewable for people with fast connections. If you
encode with speed and delivery in mind, the quality suffers. In an era of instant
gratification, there is no quick fix for making quality video accessible to a wide audience.
Finding a balance between video quality and connection speed that best serves your target
audience is the key.
Sample Settings
A sample encoding settings for 56kbit modem delivery using NTSC DV source might look
like this:

Streaming Method: Real-time Streaming

Data Rate: 40 Kb
Although we may have a 56 Kb modem, our true connection speed is nearly always lower
than 56 Kb. Therefore, setting to 40 Kb or around that rate minimizes the interruptions that
occur due to general Net congestion.

Window Size: 160 x 120 pixels

For 56 Kb, if you increase the display size of your video, quality will immediately suffer due
to the larger file size. You need to keep the display size to 160 x 120 pixels or only slightly
larger. This is what many people disparagingly call a "postage stamp" display.

Frame Rate: Use 5 for 6 frames per second (fps).

Uncompressed video typically plays at around 30 fps (NTSC) or 25 fps (PAL). Choose a
frame rate that evenly divides into the above figures. Since many of us use NTSC in the US,
you'll need to select a frame rate such as 5, 6, 7.5, 10, or 15 fps depending on connection
speed. As modem delivery is very slow, we suggest 5 or 6 fps, then scaling up based on
data rate and Web connection.

Page 9 — Encoding Methods and DVD

If you're encoding for progressive streaming delivery, use the 2-pass Variable Bit Rate
(VBR) setting, which is supported both in Real Video 8 and QuickTime 4 & 5 versions. You
won't find this feature in Windows Media 7. VBR encoding is a great feature to enhance the
overall quality of your video. It works like a 2-pass encoding approach, analyzing your video
first for choke points, then compressing it. It's a longer process but the results are better.
Some techniques used in video streaming actually mix encoding techniques. It's more
common now to see companies encode for modem (e.g. 56kb) delivery using progressive
download and for higher data rates (e.g. ISDN and DSL) using real-time streaming
methods. The mix and match approach works well because it's hard to do real-time
streaming for 56Kb delivery unless you're streaming a talking head video, which
compresses better due to minimal camera movement.

When you start the encoding process, use a very short clip because it will take a long time
(even with a fast computer). You can enter different settings into Media Cleaner Pro 5 until
you get the best results for the type of video you are compressing. Then be sure to save
these settings for future use.

Media Cleaner Pro offers new users a wizard interface, which takes you through the
encoding process to create your own settings. However, the results are often poor and you
have to go through a lot of trial and error before you really start to see optimized results.
Start with the wizard interface then try the advanced settings until you find the results you
like best. There is no magic bullet here. The experimental phase can be very frustrating and
time consuming to say the least, but once you have the settings you like, you can reuse
them for future encoding jobs.
DVD Distribution

If you go to a Blockbuster store today, you might notice that DVD is well on its way to
replacing analog VHS tapes. Up until this point, the main focus in digital video has been on
Web distribution, but producing your own videos and 'burning' them on DVD is also possible
for 'pro-sumers'.
Until recently, encoding and 'burning' DVDs required very expensive equipment. Apple
Computer has introduced new but powerful consumer level DVD software called iDVD and
iDVD Studio that can deliver professional results.
Media100's Terran Division also has a product called Cleaner MPEG Charger that helps you
create and encode for DVD. Generally, DVDs use MPEG-2 codecs and you can encode at far
greater data rates than you might for the Web, with a full screen window size to boot.

Page 10 — Community Sites

There are several useful video community sites that can help you find further information
about video encoding.

See 2-pop, which supports a vast bulletin board for everything from video encoding, editing
and capture to special effects.

Another Site called Streaming Media is a great portal which offers media talk radio shows,
highlights everything from content and technology to industry trends and news, discussed
by the latest luminaries.

Digital video creation, distribution and communication represents the next killer app. And
it's a very exciting and fun process once you get the hang of it. Like everything, it requires
learning a few key tools, some perseverance to get them working in tandem, and some trial
and error until you're happy with the results. And beware -- once you get into it, you might
get hooked.
Live Streaming Critirea

Understanding The Basics

Before contacting service providers to get help with your broadcast, there are some basics you
need to be aware of. Understanding what is involved in a live event from a technical perspective
is important, as the technical resources chosen will be the biggest factor in the event cost and
complexity. Typically a live event is broken down into five main components consisting of the
following:
• Audio and/or video capture
• Signal acquisition
• Content encoding
• Delivery or distribution
• Website interface integration

Audio and/or Video Capture

The first piece of any live event is audio and video content. Some events consist of just an audio
component, such as a quarterly investors relations call, while others consist of video as well as
audio. The first step in any live event is being able to record and film the content, otherwise
known as “capture”. Many times, this factor can be one of the highest costs depending on the
complexity of the capture needs.

Signal Acquisition

Once the audio/video content is captured, the signal needs to be transmitted to the location where
it will be encoded. This process is typically done a few different ways depending on the event.
The signal can be sent to a satellite in the sky (typically refereed to as “uplinking”) where it is
then pulled down (otherwise known as “dowlinking”) at the service provider’s offices for
encoding. Another way to capture the signal can be via a phone bridge, say if the live event
content consists of just a conference call. The signal can also be sent via connectivity at the event
location if the content is being encoded on-site from the venue.

Content Encoding

After the signal has been acquired via satellite, phone bridge or another method it needs to be
encoded for distribution over the Internet. Encoding the content consists of taking the
audio/video signal and transforming it into a streaming media file format ready for distribution
on the Internet. These formats are what are being referred to when you hear the terms Windows
Media, Real Media and QuickTime. Encoding is done by using an “encoder”, a hardware based
device with capture cards and software that allows the signal to be digitized into one of the above
mentioned file formats.
Delivery or Distribution

Now that the content has been captured, acquired and encoded, it is ready for delivery, which
also can be referred to as “distribution”. Once the signal is encoded, it is sent to servers sitting on
a delivery network that transmit the content to viewers via the Internet. For most service
providers, the distribution of your content on the Internet is the largest cost associated with a live
event. Understanding the components that effect the costs for these services will allow you to
make sure you do not pay for delivery bandwidth you don’t end up using.

Website Interface Integration

Another technical piece that can typically be involved in broadcasts is website integration or
interactivity. Live broadcasts on the Internet have the ability to include interactive functions such
as chat, polling and power point slides. Additionally, you can have the service provider build you
a micro website to host the event from as well as additional options such as setting up a
registration interface which allows you to collect user data. Many options are available when it
comes to interactivity and the complexity and amount of options chosen will effect the final cost
for technical services

Broadcasting Live Events – What You Need To Know

Part 1 – Understanding The Basics

By Dan Rayburn
July 9, 2002
Determining Your Business Needs

Now that you know what is involved in the broadcast, you need to decide on the technical needs
of your webcast. Depending on your needs and the type of broadcast taking place, webcasting
your live event can require very little resources or have a lot of complexity. The scope and scale
of the five components will determine the cost and resources needed to pull off a successful
webcast. But before you answer the technical questions, you should ask yourself some business
questions to get the most out of your broadcast.
• Does the event need to be live?
• Who is your target audience?
• How do you plan on measuring your return on investment?

Does Your Event Need To Be Live?

While broadcasting your content live has its advantages, it is also more expensive than simply
recording it and archiving it for later use. Many times, the nature of the content warrants it to be
live, such as breaking news, a corporate announcement or an investors relations call. However, if
the content is not of a time sensitive nature you may want to reconsider allocating the resources
and budget of broadcasting it live and seek other options from the service provider.
Who Is Your Target Audience?

Understanding who your target audience is, your end users, is crucial in having a successful
webcast. You can have a flawlessly produced broadcast from a technical standpoint but it can fail
if it does not delivered the message you wanted to convey and if there are no end users watching
it. When preparing to webcast your content figure out whom your ideal end user is. Knowing the
time, physical location and way they will be able to access the broadcast is essential. This will
also be a huge question when we talk about factors that effect the cost of the webcast.

How Do You Plan On Measuring Your Return On Investment?

Whether you spend $1,000 on a webcast or $10,000, no investment is worth the money if you are
not prepared to judge how successful it was. Having a defined set of parameters that will allow
you to see your ROI is essential. A large portion of the ROI is usually based on the metrics
delivered after the webcast by the service provider. These reports (also known as “reporting”)
vary in detail based on the distribution service provider chosen but will typically tell you how
many people watched your broadcast and the average length they viewed. You should also judge
the metrics based on the quality of the message you delivered. Was it clear, concise and
delivered in the format and way you wanted? Also, if you made your viewers pre-register before
the event, by filling in their contact information, you have the ability to send them a follow-up
questionnaire asking for feedback. This is another great way to measure the effectiveness of your
webcast.

Understanding these variables is the first step in broadcasting a successful live webcast on the
Internet. Next week, in part two, we will discuss the factors that will determine the technical
scale of your webcast and the cost of outsourcing as well as estimates of what you should pay for
these services. Additionally, we will review some vendors in the service provider space who can
help manage the pieces for you.

About the author:

Dan Rayburn is recognized as one of the Internet industry’s foremost authorities on Interactive
Web Technology with 7 years expertise in the streaming media sector. Mr. Rayburn is widely
considered one of the most experienced individuals pertaining to streaming media business
models, strategy, industry foresight, hardware and software products, delivery methods and
cutting edge technology solutions in the US and abroad.
Before starting his own consulting company, Rayburn established the Streaming Media Division
for the Globix Corporation. Previously, in 1996 he co-founded one of the first live webcast
production companies successfully acquired by Digital Island.

Currently, he is widely sought after to advise companies in the streaming media industry on
various facets of their business including introductions to new clients and sales channels,
product positioning, competitive analysis, market and brand awareness and product
development. His articles on streaming media trends and technologies have been published in
major trade magazines and web portals including Streaming Magazine, Electronic Media,
Communications Week Magazine, IT Consultant Magazine, Ziff Davis IT Week UK and IDG
Books.
Often, streaming media is compared to the world of broadcast television or radio. Perhaps that is
because radio and TV are the two most obvious mediums that can be transferred into the
streaming world, namely because TV and radio already have popular content, a steady revenue
stream and large audiences. But the broadcast world faces a new set of challenges when trying to
webcast or stream their signals over the Internet. Not only are there technical hurdles, but the use
of streaming requires understanding new copyright and licensing structures, not to mention
developing sustainable business models. And both TV and radio have their own unique set of
requirements and issues

Often, streaming media is compared to the world of broadcast television or radio. Perhaps that is
because radio and TV are the two most obvious mediums that can be transferred into the
streaming world, namely because TV and radio already have popular content, a steady revenue
stream and large audiences. But the broadcast world faces a new set of challenges when trying to
webcast or stream their signals over the Internet. Not only are there technical hurdles, but the use
of streaming requires understanding new copyright and licensing structures, not to mention
developing sustainable business models. And both TV and radio have their own unique set of
requirements and issues.
Focus On Terrestrial Stations

In planning this report, we decided to focus primarily on terrestrial radio stations wanting to
stream their signals over the Internet. One reason is because radio, with just an audio signal,
requires much lower bandwidth considerations and can therefore be more economically viable
than streaming for television broadcasters. Radio stations have also been streaming since 1995,
the very early days of streaming. Only in the last twelve months have radio stations been wary of
licensing and advertising issues.
Although this report is intended for terrestrial radio broadcasters, many issues discussed still
apply to Internet-only radio stations, even to the streaming community as a whole. In this report,
you’ll come to understand the issues that companies must know when starting their own
streaming radio initiatives. Topics include:

• Choosing a streaming provider

• Legal, copyright and licensing issues
• Finding out how to earn additional revenue, notably through in-stream advertising
• Tracking and analyzing webcast audiences
• Discover emerging technological innovations to save money on bandwidth, one of the
largest cost centers
•
New Developments

As this report went to press, a panel appointed by the U.S. Copyright Office made an important
announcement regarding performance royalty rates for webcasters. With these new proposed
rates, streaming broadcasters need clear and relevant information about the Internet radio market,
now, more than ever.
In short, large radio groups, small independent stations, college radio or even stations outside the
U.S can benefit from this report.