Multimedia broadcast and internet satellite system design and user trial results

The EU funded project, System for Advanced Multimedia Broadcast and IT Services (SAMBITS), has created an enhanced and synchronised, multimedia terminal for merging satellite broadcast and internet telecommunication services in a way that efficiently combines the large bandwidth of the broadcast channel and the interactivity of the internet. This paper proposes a novel broadcast and internet service concept, illustrates this concept with two service scenarios and develops a system architecture to demonstrate the range of key benefits provided by these new technologies. It then describes the interactive multimedia terminal that was used for consuming this new service concept. Finally, the results of the user trials on the terminal are presented and discussed

3D video coding and transmission

The capture, transmission, and display of 3D content has gained a lot of attention in the last few years. 3D multimedia content is no longer con fined to cinema theatres but is being transmitted using stereoscopic video over satellite, shared on Blu-RayTMdisks, or sent over Internet technologies. Stereoscopic displays are needed at the receiving end and the viewer needs to wear special glasses to present the two versions of the video to the human vision system that then generates the 3D illusion. To be more e ffective and improve the immersive experience, more views are acquired from a larger number of cameras and presented on di fferent displays, such as autostereoscopic and light field displays. These multiple views, combined with depth data, also allow enhanced user experiences and new forms of interaction with the 3D content from virtual viewpoints. This type of audiovisual information is represented by a huge amount of data that needs to be compressed and transmitted over bandwidth-limited channels. Part of the COST Action IC1105 \3D Content Creation, Coding and Transmission over Future Media Networks" (3DConTourNet) focuses on this research challenge.peer-reviewe

Optical network technologies for future digital cinema

Digital technology has transformed the information flow and support infrastructure for numerous application domains, such as cellular communications. Cinematography, traditionally, a film based medium, has embraced digital technology leading to innovative transformations in its work flow. Digital cinema supports transmission of high resolution content enabled by the latest advancements in optical communications and video compression. In this paper we provide a survey of the optical network technologies for supporting this bandwidth intensive traffic class. We also highlight the significance and benefits of the state of the art in optical technologies that support the digital cinema work flow

Hacking Digital Video Recorders: Potential Copyright Liability for DVR Hackers and Service Providers

To what extent does Sony\u27s time-shifting fair use argument extend to recent innovations that make it easier for hackers use DVR technology to generate copies of protected material? The author assesses the potential liability of DVR manufacturers against the backdrop of traditional fair use doctrines

Stay Tuned: Whether Cloud-Based Service Providers Can Have Their Copyrighted Cake and Eat It Too

Copyright owners have the exclusive right to perform their works publicly and the ability to license their work to others who want to share that right. Subsections 106(4) and (5) of the Copyright Act govern this exclusive public performance right, but neither subsection elaborates on what constitutes a performance made “to the public” versus one that remains private. This lack of clarity has made it difficult for courts to apply the Copyright Act consistently, especially in the face of changing technology. Companies like Aereo, Inc. and AereoKiller, Inc. developed novel ways to transmit content over the internet to be viewed instantly by their subscribers and declined to procure the licenses that would have been required if these transmissions were being made “to the public.” However, while these companies claimed that their activities were outside of the purview of § 106(4) and (5), their rivals, copyright owners, and the U.S. Supreme Court disagreed. Likening Aereo to a cable company for purposes of § 106(4) and (5), the Supreme Court determined that the company would need to pay for the material it streamed. Perhaps more problematic for Aereo (and other similar companies) is the fact that the Court declined to categorize Aereo as an actual cable company, such that it would qualify to pay compulsory licensing fees—the more affordable option given to cable companies under § 111—to copyright holders. This Comment shows that, while the Court correctly ruled that companies like Aereo and AereoKiller should pay for the content transmitted, its failure to address whether Aereo is a cable company could frustrate innovation to the detriment of the public. It suggests, therefore, that these companies should be required to pay for the content that they transmit in the same way that cable companies do until Congress develops another system

Aereo and Internet Television: A Call to Save the Dukes (A La Carte)

If it looks like a duck, swims like a duck, and quacks like a duck, it is probably a duck. The most recent U.S. Supreme Court decision regarding the Copyright Act employed this “duck test” when determining that Aereo, an Internet content-streaming company, violated the Copyright Act by infringing on the copyrights of television broadcast networks. The Supreme Court ruled that Aereo\u27s Internet streaming services resembled cable television transmissions too closely. Therefore, by streaming copyrighted programming to its subscribers without the cable compulsory license, Aereo violated the Transmit Clause of the 1976 Copyright Act. Subsequently, Aereo used this Supreme Court decision to obtain a compulsory license from the Copyright Office but was denied. Forced back into litigation, Aereo filed for Chapter 11 Bankruptcy This Issue Brief describes Aereo’s technology, the litigation that followed, and the related precedent, and concludes that the district court should have granted Aereo a Section 111 Statutory License in line with the Supreme Court’s “duck test.” It considers the implications of the Court’s preliminary injunction against Aereo’s “a la carte” TV technology, what this means for the future of similar technological innovation, and the effects on consumers and competition

Aereo and Internet Television: A Call to Save the Dukes (A La Carte)

If it looks like a duck, swims like a duck, and quacks like a duck, it is probably a duck. The most recent U.S. Supreme Court decision regarding the Copyright Act employed this “duck test” when determining that Aereo, an Internet content-streaming company, violated the Copyright Act by infringing on the copyrights of television broadcast networks. The Supreme Court ruled that Aereo\u27s Internet streaming services resembled cable television transmissions too closely. Therefore, by streaming copyrighted programming to its subscribers without the cable compulsory license, Aereo violated the Transmit Clause of the 1976 Copyright Act. Subsequently, Aereo used this Supreme Court decision to obtain a compulsory license from the Copyright Office but was denied. Forced back into litigation, Aereo filed for Chapter 11 Bankruptcy This Issue Brief describes Aereo’s technology, the litigation that followed, and the related precedent, and concludes that the district court should have granted Aereo a Section 111 Statutory License in line with the Supreme Court’s “duck test.” It considers the implications of the Court’s preliminary injunction against Aereo’s “a la carte” TV technology, what this means for the future of similar technological innovation, and the effects on consumers and competition