Thursday, March 30, 2017

360-degree (live) adaptive streaming with RICOH THETA S and Bitmovin

Recently I got the RICOH THETA S 360-degree camera and I asked myself how to setup a (live) adaptive streaming session using the Bitmovin cloud encoding and HTML5 player. I quickly found some general guidelines on the internet but before providing step-by-step instructions one has to consider the following:
  • Update the firmware of your RICOH THETA S by downloading the basic app, start it (while the camera is connected via USB) and go to File -> Firmware Update... and follow the steps on the screen. It's pretty easy and mine got updated from v1.11 to v1.82.
  • Think about a storage solution for your files generated by the Bitmovin cloud encoding and possible options are FTP, Amazon S3, Google Cloud Storage, and Dropbox. I used Amazon S3 for this setup which provides a bucket name, "AWS Access Key", and "AWS Secret Key".
  • Setup a basic web site and make sure it works with the Bitmovin HTML5 player for video on demand services with the content hosted on the previously selected storage solution (i.e., avoid any CORS issues). In my setup I used Wordpress and the Bitmovin Wordpress plugin which makes it very easy...

Step 1: Follow steps 1-4 from here.

Follow steps 1-4 from the general guidelines. Basically, install the live-streaming app, register the device, and install/configure OBS. Enable the live streaming on the RICOH THETA S and within OBS use the "Custom Streaming Server" of the "Stream" settings. That basically connects the RICOH THETA S with OBS on your local computer. The next step is forwarding this stream to the Bitmovin cloud encoding service for DASH/HLS streaming.

Step 2: Create a new Bitmovin Output

  1. Login to the Bitmovin portal and go to Encoding -> Outputs -> Create Output
  2. Select Amazon S3 and use any “Output Profile name”, e.g., ricoh-livestream-test
  3. Enter the name of your Bucket from Amazon S3
  4. The prefix is not needed
  5. Select any “Host-Region” (preferably one close to where you are)
  6. Enter the ”AWS Access Key" and the “AWS Secret Key” from Amazon S3
  7. Make sure the "Create Public S3 URLs" checkbox is enabled
An example screenshot is shown below.

Finally, click the “+” sign to create it and if everything is correct, the output will be created, otherwise an error message will be shown. In such a case, make sure the bucket name and keys are correct as provided when creating a bucket on Amazon S3.

Step 3: Create a new Bitmovin Livestream

  1. Login to the Bitmovin portal and go to Live (beta) -> Create Livestream
  2. Select "Encoding-Profile": bitcodin fullHD is sufficient (4K not needed as the device provides only fullHD)
  3. Select "Output-Profile": select the output you’ve created in previous step (ricoh-livestream-test)
  4. Add a "Livestream-Name" (any string works here), e.g., ricoh-livestream-test
  5. Add a "Stream-Key" (any string works here), e.g., ricohlivestreamtest
  6. Click "Create Live Stream", an "Important Notice" shows up & click "Create Live Stream"
  7. Wait (could take some time, you may reload the page or go to the "Overview") for RTMP PUSH URL to be used in OBS
An example screenshot is shown below which displays the RTMP PUSH URL, Stream Key, MPD URL, and HLS URL to be used in the next steps.

The next step is to start streaming in OBS which provides the live stream from the RICOH THETA S to the Bitmovin cloud encoding.

Step 4: Start Streaming in OBS

  1. Go to OBS -> Settings
  2. In section "Stream", select "Custom Streaming Server"
  3. Enter the RTMP PUSH URL from Bitmovin in the "URL" field of OBS
  4. Enter the Stream Key from Bitmovin in the "Stream key" field of OBS
  5. Click "OK" and then click "Start Streaming" in OBS
An example screenshot is shown below and if everything works fine OBS will stream to the Bitmovin cloud encoding  service.
The final step is setting up the HTML5 player..

Step 5: Setup the HTML5 Player

Basically follow the instructions here or in my case I simply used Wordpress and the Bitmovin Wordpress plugin.
  1. Go to the Bitmovin WP plugin
  2. Select "Add New Video"
  3. Enter any name/title of the new video
  4. In the "Video" section, enter the "DASH URL" and "HLS URL" from the Bitmovin livestream provided in step 3 (i.e., the MPD URL and the HLS URL)
  5. In the "Player" section, select latest stable (in my case this was latest version 7)
  6. In the "VR" section, select startup mode "2d" and leave the rest as is
An example screenshot is shown below.
Finally, click on "Publish" in Wordpress which will give you a shortcut code to be placed (copy/paste) into your site or post and you're done...!

The setup during the live streaming session is shown in the screenshot below. The RICOH THETA S on the right is mounted on a tripod and connected via USB. My MacBook Pro runs OBS (see display on the right) which streams it to the Bitmovin cloud encoding and also shows the live streaming session within a browser (see display on the left) using the Bitmovin HTML5 player.



A similar approach can be used for video on demand content but in such a case you don't need OBS as you simply encode your content using the Bitmovin cloud encoding, transfer it to your web server, and use the HTML5 player for the actual streaming.

Friday, February 10, 2017

MPEG news: a report from the 117th meeting, Geneva, Switzerland

The original blog post can be found at the Bitmovin Techblog and has been updated here to focus on and highlight research aspects. Additionally, this version of the blog post will be also posted at ACM SIGMM Records.
MPEG News Archive
The 117th MPEG meeting was held in Geneva, Switzerland and its press release highlights the following aspects:
  • MPEG issues Committee Draft of the Omnidirectional Media Application Format (OMAF)
  • MPEG-H 3D Audio Verification Test Report
  • MPEG Workshop on 5-Year Roadmap Successfully Held in Geneva
  • Call for Proposals (CfP) for Point Cloud Compression (PCC)
  • Preliminary Call for Evidence on video compression with capability beyond HEVC
  • MPEG issues Committee Draft of the Media Orchestration (MORE) Standard
  • Technical Report on HDR/WCG Video Coding
In this blog post, I'd like to focus on the topics related to multimedia communication. Thus, let's start with OMAF.

Omnidirectional Media Application Format (OMAF)

Real-time entertainment services deployed over the open, unmanaged Internet – streaming audio and video – account now for more than 70% of the evening traffic in North American fixed access networks and it is assumed that this figure will reach 80 percent by 2020. More and more such bandwidth hungry applications and services are pushing onto the market including immersive media services such as virtual reality and, specifically 360-degree videos. However, the lack of appropriate standards and, consequently, reduced interoperability is becoming an issue. Thus, MPEG has started a project referred to as Omnidirectional Media Application Format (OMAF). The first milestone of this standard has been reached and the committee draft (CD) has been approved at the 117th MPEG meeting. Such application formats "are essentially superformats that combine selected technology components from MPEG (and other) standards to provide greater application interoperability, which helps satisfy users' growing need for better-integrated multimedia solutions" [MPEG-A]." In the context of OMAF, the following aspects are defined:
  • Equirectangular projection format (note: others might be added in the future)
  • Metadata for interoperable rendering of 360-degree monoscopic and stereoscopic audio-visual data
  • Storage format: ISO base media file format (ISOBMFF)
  • Codecs: High Efficiency Video Coding (HEVC) and MPEG-H 3D audio
OMAF is the first specification which is defined as part of a bigger project currently referred to as ISO/IEC 23090 -- Immersive Media (Coded Representation of Immersive Media). It currently has the acronym MPEG-I and we have previously used MPEG-VR which is now replaced by MPEG-I (that still might chance in the future). It is expected that the standard will become Final Draft International Standard (FDIS) by Q4 of 2017. Interestingly, it does not include AVC and AAC, probably the most obvious candidates for video and audio codecs which have been massively deployed in the last decade and probably still will be a major dominator (and also denominator) in upcoming years. On the other hand, the equirectangular projection format is currently the only one defined as it is broadly used already in off-the-shelf hardware/software solutions for the creation of omnidirectional/360-degree videos. Finally, the metadata formats enabling the rendering of 360-degree monoscopic and stereoscopic video is highly appreciated. A solution for MPEG-DASH based on AVC/AAC utilizing equirectangular projection format for both monoscopic and stereoscopic video is shown as part of Bitmovin's solution for VR and 360-degree video.

Research aspects related to OMAF can be summarized as follows:
  • HEVC supports tiles which allow for efficient streaming of omnidirectional video but HEVC is not as widely deployed as AVC. Thus, it would be interesting how to mimic such a tile-based streaming approach utilizing AVC.
  • The question how to efficiently encode and package HEVC tile-based video is an open issue and call for a tradeoff between tile flexibility and coding efficiency.
  • When combined with MPEG-DASH (or similar), there's a need to update the adaptation logic as the with tiles yet another dimension is added that needs to be considered in order to provide a good Quality of Experience (QoE).
  • QoE is a big issue here and not well covered in the literature. Various aspects are worth to be investigated including a comprehensive dataset to enable reproducibility of research results in this domain. Finally, as omnidirectional video allows for interactivity, also the user experience is becoming an issue which needs to be covered within the research community.
A second topic I'd like to highlight in this blog post is related to the preliminary call for evidence on video compression with capability beyond HEVC.

Preliminary Call for Evidence on video compression with capability beyond HEVC

A call for evidence is issued to see whether sufficient technological potential exists to start a more rigid phase of standardization. Currently, MPEG together with VCEG have developed a Joint Exploration Model (JEM) algorithm that is already known to provide bit rate reductions in the range of 20-30% for relevant test cases, as well as subjective quality benefits. The goal of this new standard -- with a preliminary target date for completion around late 2020 -- is to develop technology providing better compression capability than the existing standard, not only for conventional video material but also for other domains such as HDR/WCG or VR/360-degrees video. An important aspect in this area is certainly over-the-top video delivery (like with MPEG-DASH) which includes features such as scalability and Quality of Experience (QoE). Scalable video coding has been added to video coding standards since MPEG-2 but never reached wide-spread adoption. That might change in case it becomes a prime-time feature of a new video codec as scalable video coding clearly shows benefits when doing dynamic adaptive streaming over HTTP. QoE did find its way already into video coding, at least when it comes to evaluating the results where subjective tests are now an integral part of every new video codec developed by MPEG (in addition to usual PSNR measurements). Therefore, the most interesting research topics from a multimedia communication point of view would be to optimize the DASH-like delivery of such new codecs with respect to scalability and QoE. Note that if you don't like scalable video coding, feel free to propose something else as long as it reduces storage and networking costs significantly.

MPEG Workshop “Global Media Technology Standards for an Immersive Age”

On January 18, 2017 MPEG successfully held a public workshop on “Global Media Technology Standards for an Immersive Age” hosting a series of keynotes from Bitmovin, DVB, Orange, Sky Italia, and Technicolor. Stefan Lederer, CEO of Bitmovin discussed today's and future challenges with new forms of content like 360°, AR and VR. All slides are available here and MPEG took their feedback into consideration in an update of its 5-year standardization roadmap. David Wood (EBU) reported on the DVB VR study mission and Ralf Schaefer (Technicolor) presented a snapshot on VR services. Gilles Teniou (Orange) discussed video formats for VR pointing out a new opportunity to increase the content value but also raising a question what is missing today. Finally, Massimo Bertolotti (Sky Italia) introduced his view on the immersive media experience age.

Overall, the workshop was well attended and as mentioned above, MPEG is currently working on a new standards project related to immersive media. Currently, this project comprises five parts. The first part comprises a technical report describing the scope (incl. kind of system architecture), use cases, and applications. The second part is OMAF (see above) and the third/forth parts are related to immersive video and audio respectively. Part five is about point cloud compression.

For those interested, please check out the slides from industry representatives in this field and draw your own conclusions what could be interesting for your own research. I'm happy to see any reactions, hints, etc. in the comments..

Finally, let's have a look what happened related to MPEG-DASH, a topic with a long history on this blog.

MPEG-DASH and CMAF: Friend or Foe?

For MPEG-DASH and CMAF it was a meeting "in between" official standardization stages. MPEG-DASH experts are still working on the third edition which will be a consolidated version of the 2nd edition and various amendments and corrigenda. In the meantime, MPEG issues a white paper on the new features of MPEG-DASH which I would like to highlight here.
  • Spatial Relationship Description (SRD): allows to describe tiles and region of interests for partial delivery of media presentations. This is highly related to OMAF and VR/360-degree video streaming.
  • External MPD linking: this feature allows to describe the relationship between a single program/channel and a preview mosaic channel having all channels at once within the MPD.
  • Period continuity: simple signaling mechanism to indicate whether one period is a continuation of the previous one which is relevant for ad-insertion or live programs.
  • MPD chaining: allows for chaining two or more MPDs to each other, e.g., pre-roll ad when joining a live program.
  • Flexible segment format for broadcast TV: separates the signaling of the switching points and random access points in each stream and, thus, the content can be encoded with a good compression efficiency, yet allowing higher number of random access point, but with lower frequency of switching points.
  • Server and network-assisted DASH (SAND): enables asynchronous network-to-client and network-to-network communication of quality-related assisting information.
  • DASH with server push and WebSockets: basically addresses issues related to HTTP/2 push feature and WebSocket.
CMAF issued a study document which captures the current progress and all national bodies are encouraged to take this into account when commenting on the Committee Draft (CD). To answer the question in the headline above, it looks more and more like as DASH and CMAF will become friends -- let's hope that the friendship lasts for a long time.

What else happened at the MPEG meeting?

  • Committee Draft MORE (note: type in 'man more' on any unix/linux/max terminal and you'll get 'less - opposite of more';): MORE stands for “Media Orchestration” and provides a specification that enables the automated combination of multiple media sources (cameras, microphones) into a coherent multimedia experience. Additionally, it targets use cases where a multimedia experience is rendered on multiple devices simultaneously, again giving a consistent and coherent experience.
  • Technical Report on HDR/WCG Video Coding: This technical report comprises conversion and coding practices for High Dynamic Range (HDR) and Wide Colour Gamut (WCG) video coding (ISO/IEC 23008-14). The purpose of this document is to provide a set of publicly referenceable recommended guidelines for the operation of AVC or HEVC systems adapted for compressing HDR/WCG video for consumer distribution applications
  • CfP Point Cloud Compression (PCC): This call solicits technologies for the coding of 3D point clouds with associated attributes such as color and material properties. It will be part of the immersive media project introduced above.
  • MPEG-H 3D Audio verification test report: This report presents results of four subjective listening tests that assessed the performance of the Low Complexity Profile of MPEG-H 3D Audio. The tests covered a range of bit rates and a range of “immersive audio” use cases (i.e., from 22.2 down to 2.0 channel presentations). Seven test sites participated in the tests with a total of 288 listeners.
The next MPEG meeting will be held in Hobart, April 3-7, 2017. Feel free to contact us for any questions or comments.

Thursday, October 13, 2016

MPEG-CMAF: Threat or Opportunity?

In February 2016 at the 114th MPEG meeting in San Diego, an input contribution was registered providing a proposal for a “common media format for segmented media” signed by a number of major companies. This document proposed a Media Application Format (MAF) based on the ISO Base Media File Format (ISOBMFF) and other MPEG standards for segmented media delivery which later became the MPEG Common Media Application Format (CMAF; officially MPEG-A Part 19 or ISO/IEC 23000-19).

In this blog post we will look closer into CMAF and how it actually relates to existing over-the-top (OTT) deployments.

The full version of the blog post is available here...

Wednesday, October 5, 2016

New Springer Journal “Quality and User Experience”

In 2016, the Springer journal “Quality and User Experience” was launched (Editors-in-Chief: S. Möller; M. Tscheligi). It presents research on the human experience and quality perception of digital media, telecommunication and Information Communications Technology (ICT) products and interactive services. It explores human-centered and technology-centered approaches and examines a range of perspectives on quality of experience. Coverage includes mobile and pervasive applications, augmented and virtual reality, gaming, video conferencing, telepresence, and video-on-demand. Tactics can be human centered (e.g., to characterize user perceptions) or technology centered (to guide product development). As a result of this research, technologies, products and systems can be evaluated and optimized to provide optimum experience; this optimization process is also targeted by the journal.

The journal promotes integration of knowledge by assembling a range of disciplinary perspectives on experience quality: quality of experience (QoE), user experience (UX), quality management, usability engineering, human-centered design, cognitive processes, subjective audio & video quality assessment, and human-computer interaction.



The journal will encourage and enable first class research from any scientific discipline that contributes to and shows relevance to quality of experience and user experience. Examples include: development of a new metric based on subjective or objective analysis; taxonomies and models to define and explain quality of experience and user experience; relationship to other concepts such as user acceptance or value systems; lab or situated studies delivering insights to specific experience aspects, discussion of influence factors on UX and QoE and their relationships; the significance of time for the dynamics of user experience and quality of experience, relevant insights from different disciplines such as design, psychology, social sciences or material science; research in contextual experiences to capture specific situations including specific domain aspects; tools and frameworks towards the development of next generation experiences; methods to capture, analyze, design and evaluate user experience and quality of experience; user experience research related to special user groups, special needs as well personal differences; insights on the design of experiences from the constructive as well as from the process perspective; experience design approaches and methods; viewpoints on the meaning of experience design; and experience design for specific application domains.  

Please note that QUEX offers permanent free access to all articles published in 2016 and 2017.

More information: http://link.springer.com/journal/41233

Tuesday, September 13, 2016

Open Positions at Bitmovin

About working with Bitmovin

Bitmovin, a YCombinator company, is a fast growing privately owned technology leader, located in Klagenfurt am Wörthersee in Austria and in California. Our company is leading in research and development of cutting-edge multimedia services like, e.g.,Dynamic Adaptive Streaming over HTTP (DASH)HTTP Live Streaming (HLS), multimedia systems and multimedia cloud services.
We believe our employees are the most valuable assets of our company. They drive Bitmovin’s success with their knowledge, experience and passion. Therefore we provide a high degree of freedom to our employees to initiate projects and take on responsibility, while paying a very competitive salary above the average.
Working at Bitmovin is international, fast-paced, fun and challenging. We’re looking for talented, passionate and inspired people who want to change the way media is consumed online. Join us to develop, sell and market the world’s fastest video encoding service.

Sales and Marketing

Software and Development

Admin and Finance

Wednesday, August 31, 2016

IEEE Computer "Social Computing" Column: Call for Papers

I’m looking for forward-looking and thought-provokening articles for the Social Computing column within the IEEE Computer magazine. As you know, IEEE Computer is the flagship publication of the IEEE Computer Society (CS) which is distributed to all members (CS is the biggest society within IEEE).

The topics are related to the Special Technical Community on Social Networking (STCSN) and please submit column articles directly to me! The guidelines see below and no specific template is required (just plain text in an editable Word file is fine).

An overview of previous columns can be found here. If you have any questions or comments, don’t hesitate to contact me.


Guidelines for Computer Column Contributions

We encourage column editors to include contributions solicited from their colleagues to provide the six installments for their bimonthly Computer columns.

The target length for each column is 2.0-2.5 magazine pages, or about 1,500-1,900 words. Each figure or table is counted as 300 words, and obviously we prefer to include appropriate graphic elements when they are available. Max. 2,200 (if no art).

Editors are asked to remind contributors that columns do not include a bibliography or an acknowledgments section. References or URLs can be inserted inline in the text if needed.

Submitted columns should include the article title, author(s) name(s) and affiliation(s) and a brief bio that also provides email contact information:

//First name/last name// is a //academic title, institution, or business title, company//. Contact him at //email address.//

Image guidelines

To ensure the quality needed for print publication, we need an editable vector art file-for example, Illustrator or Visio files-for each line drawing. For each photo, we need a 4-color electronic image at 300 dpi resolution, preferably in a .tif, .png, or .jpeg format. We cannot use derivative images or images embedded in a document.

In our article layouts, the figures are usually at least 4 inches (24picas) wide. If you prefer to send screenshots, they should be approximately 12 inches wide. Our production artist can reduce these low-resolution images to 4 inches in Photoshop and process them to achieve the required resolution. If your original images are smaller than 12 inches, using a large monitor set at its highest resolution will help achieve a better screenshot. No compression is necessary.


Tuesday, August 16, 2016

DASH-IF Academic Track


The MPEG-DASH standard has raised a huge momentum within both industry and academia. The DASH-IF provides – among others – interoperability guidelines and test vectors and closes the gap enabling interoperable deployments. In recent years, we have seen a tremendous amount of research papers addressing various issues in and around DASH and, thus, the DASH-IF establishes an academic track to:
  • identify research communities working in the area of DASH
  • create awareness of DASH-IF material and promote it within the academic community, and
  • solicit research within and collect results from the academic community
As a first step the DASH-IF created the “Excellence in DASH Award” at ACM MMSys 2016 and is proud to announce the result as follows. The excellence in DASH award was selected by members of the DASH-IF and instead of a first, second, and third place the DASH-IF concluded to give the first price to all three papers which are as follows: “ABMA+: lightweight and efficient algorithm for HTTP adaptive streaming” by Andrzej Beben, Piotr Wiśniewski, Jordi Mongay Batalla, Piotr Krawiec (Warsaw University of Technology, Poland ); “Delivering Stable High-Quality Video: An SDN Architecture with DASH Assisting Network Elements” by Jan Willem Martin Kleinrouweler, Sergio Cabrero, Pablo Cesar (Centrum Wiskunde & Informatica, Netherlands); and “SQUAD: A Spectrum-based Quality Adaptation for Dynamic Adaptive Streaming over HTTP” by Cong Wang, Amr Rizk, Michael Zink (University of Massachusetts Amherst, USA). (see pictures here).

For academics who want to join the DASH-IF Academic Track, please subscribe to the public email reflector dashifat@lists.aau.at via https://lists.aau.at/mailman/listinfo/dashifat.

Everyone is welcome - let's do something! For any comments or questions, please let me know.

Another related activity was the IEEE ICME 2016 Bitmovin Grand Challenge on DASH which is summarized below. We'd like to thank all authors who have submitted their work to the grand challenge and we'd like to congratulate the winner team!