Remote Media Immersion

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The Remote Media Immersion (RMI) system is the result
of a unique blend of multiple cutting-edge media
technologies to create the ultimate digital media
delivery platform. The main goal is to provide an
immersive user experience of the highest quality. RMI
encompasses all end-to-end aspects from media
acquisition storage transmission up to their final
rendering. !pecifically the "ima streaming media
server delivers multiple high band#idth streams
transmission error and flo# control protocols ensure
data integrity and high-definition video combined #ith
immersive audio provide highest quality rendering. The
RMI system is operational and has been successfully
demonstrated in small and large venues. Relying on the
continued advances in electronics integration and
residential broadband improvement RMI demonstrates
the future of on-demand home entertainment
ABSTRACT
The Remote Media Immersion (RMI) system is the result of a unique
blend of multiple cutting-edge media technologies to create the ultimate digital
media delivery platform. The main goal is to provide an immersive user
experience of the highest quality. RMI encompasses all end-to-end aspects
from media acquisition storage transmission up to their final rendering.
!pecifically the "ima streaming media server delivers multiple high
band#idth streams transmission error and flo# control protocols ensure data
integrity and high-definition video combined #ith immersive audio provide
highest quality rendering. The RMI system is operational and has been
successfully demonstrated in small and large venues. Relying on the continued
advances in electronics integration and residential broadband improvement
RMI demonstrates the future of on-demand home entertainment.
$lectronics $ngineering !eminar Topic % Instrumentation !eminar
INTRODUCTION
The charter of the Integrated Media !ystems &enter (IM!&) at the
'niversity of !outhern &alifornia ('!&) is to investigate ne# methods and
technologies that combine multiple modalities into highly effective immersive
technologies applications and environments. (ne of the results of these
research efforts is the Remote Media Immersion (RMI) system. The goal of the
RMI is to create and develop a complete aural and visual environment that
places a participant or group of participants in a virtual space #here they can
experience events that occurred in different physical locations. RMI technology
can effectively overcome the barriers of time and space to enable on demand
the realistic recreation of visual and aural cues recorded in #idely separated
locations.
The focus of the RMI effort is to enable the most realistic recreation of
an event possible #hile streaming the data over the Internet. Therefore #e
push the technological boundaries much beyond #hat current video-on-demand
or streaming media systems can deliver. )s a consequence high-end rendering
equipment and significant transmission band#idth are required. The RMI
pro*ect integrates several technologies that are the result of research efforts at
IM!&. The current operational version is based on four ma*or components that
are responsible for the acquisition storage transmission and rendering of high
quality media.
STAGES OF RMI
Acquisition of high-quality !"ia st#!as
This authoring component is an important part of the overall chain to
ensure the high quality of the rendering result as experienced by users at a later
time. )s the saying +garbage in garbage out, implies no amount of quality
control in later stages of the delivery chain can ma-e up for poorly acquired
media.
R!al-ti! "igital sto#ag! an" $lay%ac& of ulti$l! in"!$!n"!nt st#!as
"ima !calable !treaming Media )rchitecture provides real-time
storage retrieval and transmission capabilities. The "ima server is based on a
scalable cluster design. $ach cluster node is an off-the-shelf personal computer
#ith attached storage devices and for example a .ast or /igabit $thernet
connection. The "ima server soft#are manages the storage and
net#or- resources to provide real-time service to the multiple clients that are
requesting media streams. Media types include but are not limited to M0$/-1
at 2T!& and 34T5 resolutions multichannel audio (e.g. 67.1 channel
immersive audio) and M0$/-8.
'#otocols fo# synch#oni(!") !ffici!nt #!alti! t#ansission of ulti$l!
!"ia st#!as
) selective data retransmission scheme improves playbac- quality #hile
maintaining realtime properties. ) flo# control component reduces net#or-
traffic variability and enables streams of various characteristics to be
synchroni9ed at the rendering location. Industry standard net#or-ing protocols
such as Real-Time 0rotocol (RT0) and Real-Time !treaming 0rotocol (RT!0)
provide compatibility #ith commercial systems.
R!n"!#ing of i!#si*! au"io an" high #!solution *i"!o
Immersive audio is a technique developed at IM!& for capturing the
audio environment at a remote site and accurately reproducing the complete
audio sensation and ambience at the client location #ith full fidelity dynamic
range and directionality for a group of listeners (6: channels of uncompressed
linear 0&M at a data rate of up to 6;.:Mb<s). The RMI
video is rendered in 34T5 resolutions (67=7i or ;17p format) and transmitted
at a rate of up to 8> Mb<s.
O+ER+IE, OF COM'ONENTS
The overall ob*ective of the RMI research endeavor is to achieve the best
possible quality at each rendering location for a group of participants. /roup
si9es may range from a single person or family at home to a large venue seating
hundreds. .or the visual streams #e decided that #e required at least high-
definition (34) resolution as defined by )T!&6. The highest quality )T!&
modes are either 6?17 @ 67=7 pixels at an interlaced frame rate of 1?.?; per
second or 61=7 @ ;17 pixels at a progressive frame rate of >?.?8 per second.
.or the audio rendering #e rely on the immersive audio technology developed
at IM!& #hich utili9es a 67.1 channel playbac- system. The rendering
capabilities of immersive audio goes much beyond current stereo and >.6
channel systems. The combination of 67.1 channels of immersive audio and
high-definition video is the next step in audio-visual
fidelity. $ach presentation session retrieves and plays bac- at least one high-
definition visual and one immersive aural stream in synchroni9ation. 2ote that
this choice #as imposed by the available media content and is not an inherent
limitation in the "ima design. The streams are stored separately on the server
for t#o reasons. .irst the RMI system is designed to be extensible such that
additional video or other streams may become part of a presentation in the
future. !econd allo#ing streams to be separately stored enables RMI to
retrieve different components of a presentation from different server locations.
The final fine-grained synchroni9ation is achieved at the client side. The on-
demand delivery of the streams that form anRMI presentation is enabled
through our streaming media architecture called "ima. Aith features such as
scalability multi-stream synchroni9ation transmission error and flo# control it
is uniquely suited for RMI-style media delivery.
DE-I+ER. OF /IG/-RESO-UTION MEDIA
)n important component of delivering isochronous multimedia over I0
net#or-s to end users and applications is the careful design of a multimedia
storage server. The tas- of such a server is t#ofoldB (6) it needs to efficiently
store the data and (1) it must schedule the retrieval and delivery of the data
precisely before it is transmitted over the net#or-. RMI relies on our "ima
streaming media architecture. "ima has been designed from the ground up to
be a scalablemedia delivery platform that can support multiple very high
band#idth streams.
.igure sho#s the server cluster architecture #hich is designed to harness
the resources of many nodes and many dis- drives per node concurrently.
(ur current implementation the server consists of a 8- #ay cluster of rac--
mountable 0&s running Red 3at Cinux ho#ever larger configurations are
possible to increase the number of concurrent RMI sessions supported. $ach
cluster node is attached to a local net#or- s#itch #ith a .ast or /igabit
$thernet lin-. The nodes communicate #ith each other and send the media data
via these net#or- connections. The local s#itch is connected to both a A)2
bac-bone (to serve distant clients) and a C)2 environment #ith
local clients. &hoosing an I0 based net#or- -eeps the per-port equipment cost
lo# and is immediately compatible #ith the public Internet. The media data is
stored in segments (called bloc-s) across multiple say four high performance
hard dis- drives. There are t#o basic techniques to assign the data bloc-s of a
media ob*ect D in a load balanced manner D to the magnetic dis- drives that
form the storage systemB in a round-robin sequence or in a random manner.
"ima uses a pseudo-random data placement in combination #ith a deadline-
driven scheduling approach.
This combination enables short startup latencies and can easily support
multimedia applications #ith non sequential data access patterns including
variable bit rate (5ER) video or audio and interactive operations such pause
and resume etc. It also enables efficient data reorgani9ation during system and
storage scaling. .or the delivery of media data #e ta-e full advantage of this
high performance storage layout.
E##o# Cont#ol 0ith S!l!cti*! R!t#ansissions f#o Multi$l! S!#*!# No"!s
(ne of the characteristics of continuous media streams is that they require data
to be delivered from the server to a client location at a predetermined rate. This
rate may vary over time for streams that have been compressed #ith a variable
bit rate (5ER) media encoder. 5ER streams enhance the rendering quality
ho#ever they #ill generate bursty traffic on a pac-et s#itched net#or- such as
the Internet. This in turn can easily lead to pac-et loss due to congestion. !uch
data loss adversely affects compressed audio
and video streams because much of the temporal or spatial redundancy in the
data has already been removed by the compression algorithm. .urthermore
important data such as audio<video synchroni9ation information may get lost
that #ill introduce artifacts in a stream for longer than a single frame. )s a
result it is imperative that as little as possible of a streamFs data is lost during
the transmission bet#een the server and a rendering location. The "ima cluster
architecture ta-es advantage not only of the distributed storage resources
among the multiple nodes but also of the multiple net#or- connections that
lin- all the nodes together. Media data is transmitted via the real-time protocol
(RT0) encapsulated in connection-less '40 datagrams. To avoid traffic
bottlenec-s each node transmits the data bloc-s that it holds directly to the
clients via RT0. 3ence each client #ill receive RT0 data pac-ets fromeach
server node#ithin the cluster. 2ote that the current Internet infrastructure #as
not designed for streaming media and provides only best-effort pac-et delivery.
The RMI test environment. ) server is located at the Information !ciences Institute in )rlington 5)
#hile the rendering is performed in Cos )ngeles.
Therefore RT0<'40 datagrams are not guaranteed to arrive in order or at all.
Reordering can easily be achieved #ith the help of a global sequence number
across all pac-ets but information loss requires special provisions if the quality
of the rendered streams at the receiving side should be acceptable. (ne possible
solution is the use of for#ard error correction (.$&). Aith this method the
server continuously adds redundant information to the stream that aids the
receiver in the reconstruction of the original information if data is corrupted or
lost during transmission. Eecause of its preemptive nature .$& can add
significant overhead that consumes additional band#idth even #hen it is not
needed. Aith RMI #e are transmitting some streams that require in excess of
8> Mb<s band#idth. In that case retransmission-based error control (RE$&) is
an attractive option. RE$& has been sho#n to be an effective solution for
streaming media applications that employ a playout buffer at the client side. )
central question arises #hen data is randomly stored across multiple server
nodes and retransmission-based error control is employedB
B#oa"cast R!t#ansissions Aith the broadcast approach all server nodes
receive a pac-et retransmission request. 0lease note that the request
broadcasting in this scenario can be #ell targeted to include all the server
nodes but no other computers. .rom observing the RT0<'40 pac-et header
source I0 address the client can easily establish the complete set of server
nodes. (nce a server receives a request it chec-s #hether it holds the pac-et
and either ignores the request or performs a retransmission. &onsequently this
approach #astes net#or- band#idth and increases server load.
Unicast R!t#ansissions The second more efficient and scalable method of
sending retransmission requests requires that the unique server node that holds
the missing pac-et be identified. This could be accomplished in several #ays.
.or example the client could reproduce the pseudo-random number sequence
that #as originally used to place the data cross multiple server nodes. This
approach has several dra#bac-s. .irst identical algorithms on both the clients
and the servers must be used at all times. If
the server soft#are is upgraded then all clients must be upgraded immediately
too. The logistics of such an underta-ing can be daunting if the clients are
distributed among thousands of end users. !econd during
scaling operations the number of server nodes or dis- drives changes and hence
ne# parameters need to be propagated to the clients immediately. (ther#ise
the server nodes #ill be misidentified. Third if for any reason the client
computation is ahead or behind the server computation (e.g. the total number
of pac-ets received does not match the number of pac-ets sent) then any future
computations #ill be #rong. This could potentially happen if the client has only
a limited memory and pac-ets arrive sufficiently out-of-sequence. ) more
robust approach is as follo#s. The client determines the server node from
#hich a lost RT0 pac-et #as intended to be delivered by detecting gaps in
node-specific pac-et sequence numbers. Ae term these local sequence numbers
(C!2) as opposed to the global sequence number (/!2) that orders all pac-ets.
)lthough this approach requires pac-ets to contain a node-specific sequence
number along #ith a global sequence number the clients require very little
computation to identify and locate missing pac-ets.
Cli!nt-S!#*!# A"a$ti*! Flo0 Cont#ol
RMI relies on the efficient transfer of multimedia streams bet#een a
server and a client. These media streams are captured and displayed at a
predetermined rate. .or example video streams may require a rate of 18 1?.?;
G7 >?.?8 or :7 frames per second. )udio streams may require 88677 or
8=777 samples per second. )n important measure of quality for such
multimedia communications is the precisely timed playbac- of the streams at
the client location. )chieving this precise playbac- is complicated by the
popular use of variable bit rate (5ER) media stream compression. 5ER
encoding algorithms allocate more bits per time to complex parts of a stream
and fe#er bits to simple parts to -eep the visual and aural quality at near
constant levels. .or example an action sequence in a movie may require more
bits per second than the credits that are displayed at the end. )s a result
different transmission rates may be required over the length of a media stream
to avoid starvation or overflo# of the client buffer. )s a contradictory
requirement #e #ould li-e to minimi9e the variability of the data transmitted
through a net#or-. 3igh variability produces uneven resource utili9ation and
may lead to congestion and exacerbate display disruptions. The focus of the
RMI flo# control mechanism is on achieving high quality media playbac- by
reducing the variability of the transmitted data and hence avoiding display
disruptions due to data starvation or overflo# at the client. Ae designed a novel
technique that ad*usts the multimedia traffic based on an end to end rate control
mechanism in con*unction #ith an intelligent buffer management scheme.
'nli-e previous approaches #e consider multiple signaling thresholds and
adaptively predict the future band#idth requirements. Aith this Multi-
Threshold Flow Control (MT.&) scheme 5ER streams are accommodated
#ithout a priori -no#ledge of the stream bit rate. .urthermore because the
MT.& algorithm encompasses server net#or- and clients it adapts itself to
changing net#or- conditions. 4isplay disruptions are minimi9ed even #ith fe#
client resources (e.gB a small buffer si9e). The MT.& protocol is currently
implemented in our "ima streaming media server and clients. This allo#s us to
measure and verify its effectiveness in an end-to-end application such as RMI.
The design of a high performance rate control algorithm #as motivated in part
by our continuous media server implementation. Ae required an adaptive
technique that could #or- in a real-#orld dynamic environment #ith minimal
prior -no#ledge of the multimedia streams to be served. Ae identified the
follo#ing desirable characteristics for the algorithmB
Onlin! o$!#ationB Required for live streaming and also desirable for stored
streams.

Cont!nt in"!$!n"!nc!B )n algorithm that is not tied to any particular
encoding technique #ill continue to #or- #hen ne# compression algorithms
are introduced.
Minii(ing f!!"%ac& cont#ol signalingB The overhead of online
signaling should be negligible to compete #ith offline methods that do not need
any signaling.
Rat! soothingB The pea- data rate as #ell as the number of rate changes
should be lo#ered compared #ith the original unsmoothed stream. This #ill
greatly simplify the design of efficient real-time storage retrieval and transport
mechanisms to achieve high resource utili9ation. &onsidering these ob*ectives
#e designed our novel Multi-Threshold .lo# &ontrol (MT.&) technique.
It distinguishes itself from previously proposed algorithms by incorporating the
follo#ingB (6) a multi-threshold buffer model (1) a consumption prediction
component and (G) a modular rate change computation frame#or- in #hich
ne# consumption prediction algorithms and feedbac- delay estimation
algorithms can easily be incorporated.
RENDERING
The rendering side of the RMI system is composed of several parts. The video
and audio streams are received over a sufficiently fast I0 net#or- connection
on a personal computer running t#o instances of the "ima playbac- soft#are.
This media player is structured into several components and only one of them
interfaces #ith the actual media decoder. This allo#s us to plug-in multiple
soft#are and hard#are decoders and hence support various media types. .or
RMI one of the players interfaces #ith a &ine &ast
34 M0$/-1 decompression board manufactured by 5ela Research. This
decoder accepts M0$/-1 compressed high definition video at data rates in
excess of >7Mb<s and in both 67=7i and ;17p formats. )n 34 serial digital
interface (!4I) connection transports the video to a high resolution front
pro*ector. 4epending on the si9e of the venue different pro*ector models may
be used. M0$/-1 video at a data rate of 87->7 Mb<s is referred to as having
contribution quality. It is often used as the format of choice bet#een production
facilities and provides high visual quality. )s a consequence extending the
visual field requires that the aural presentation be improved as #ell.
Immersive environment
I!#si*! Au"io
)udio can play a -ey role in creating a fully immersive experience for a group
of participants. To achieve this requires that the spatial limitations of traditional
t#o channel stereo must be exceeded. !everal rendering methods have been
proposed that utili9e digital filters to represent the spectral characteristics of
sound sources from different directions in G-4 space.These methods rely on
accurate representation of 3ead-RelatedTransfer .unctions (3RT.s) that
represent the modifications imparted on sound by the head and the pinnae. To
deliver sound over loudspea-ers these methods also require precise
cancellation of the crosstal- signals resulting from the opposite side
loudspea-er in order to deliver the desired sound to each ear. )s a result they
#or- #ell only for a single listener in a precisely-defined position.
Multichannel surround sound systems have also been developed that use three
front channels and t#o surround channels to provide a sense of envelopment
for multiple listeners. )lthough these systems may #or- #ell in accompanying
movies they are not suitable for immersive systems. The main reason is that
they leave significant spatial gaps in the a9imuth plane (e.g. at ?7 degrees to the
side of the listeners) and provide no coverage in the median plane (no elevation
cues). In order to minimi9e locali9ation errors the number of loudspea-ers must
increase linearly #ith the #idth of the listening area. ) listener that moves *ust
a fe# cm from the designated listening spot is sub*ected to high imaging
distortion and no longer experiences the correct locali9ation cues. This problem
can be addressed by increasing the number of loudspea-ers. It is -no#n from
the psychoacoustics literature that human listeners can locali9e sounds very
precisely in the front hemisphere and less precisely to the sides and in the rear
hemisphere.
Therefore locali9ation errors from the front channels that arise from offsets in
the listener position from the desired center location #ill be particularly
evident. In our implementation #e allocate five channels to the front hori9ontal
plane by augmenting the traditional three front loudspea-ers #ith t#o
additional #ide channels. The advantages of this are t#ofoldB (i) locali9ation
errors in the front hemisphere are reduced and (ii) the #ide channels provide
simulated side-#all reflection cues that have been sho#n to increase the sense
of spatial envelopment. In addition to the > front channels a rear surround
channel is added to fill the gap directly behind the listener. $levation
information is reproduced from t#o height channels placed above the front left
and right loudspea-ers. $arly experiments that #e have performed #ith this
configuration have sho#n that these 67 channels significantly increase the
sense of locali9ation and envelopment for listeners. ) ma*or challenge in multi-
listener environments arises from room acoustical modes particularly in small
rooms that cause a significant variation in the responses measured at different
listener locations. Responses measured only a fe# cm apart can vary by up to
6>-17 dE at certain frequencies. This ma-es it difficult to equali9e an audio
system for multiple
simultaneous listeners. .urthermore it ma-es it impossible to render a remote
performance for a large audience and have them experience the sound exactly
as it is being produced at the remote event. 0revious
methods for room equali9ation have utili9ed multiple microphones and spatial
averaging #ith equal #eighting. This approach tends to smooth out large
variations due to standing #aves but does not ta-e into account the effects of
room modes that for some frequencies may be more concentrated in one region
and not in another. Ae have developed a ne# method that derives a
representative room response from several room responses that share similar
characteristics. This response can then be used to equali9e the entire class of
responses it represents.
DISTRIBUTED IMMERSI+E 'ERFORMANCE
DEMONSTRATION
(ur current #or- is a real-time multi-site interactive specific reali9ation of the
immersive environment called 4istributed Immersive 0erformance (4I0). The
Remote Media Immersion experiments and demonstrations primarily utili9ed
uni-directional transmissions and off-line audio and video processing. The 4I0
pro*ect leverages the RMI technology and extends its capabilities to multi-
directional multi-participant and real-time interaction in synchronous and
collaborative music performance. The goal of the 4I0 pro*ect is to develop the
technology for performances in #hich the participants - subsets of musicians
the conductor and the audience - are in different physical locations and are
interconnected by high fidelity multichannel audio and video lin-s as sho#n in
.igure.
There are generally t#o classes of participants #ith different sets of
ob*ectives and requirements. Ae label the participants acti*! or $assi*!
depending on their level of interaction and the latency they can tolerate. .or
example in a tele-conference application all participants are generally active.
.or a performance event there is a mix of active participants (musicians in a
concert players in a sports event panelists at a meeting #hose primary actions
are those of doing of physically engaging in the activity) and passive
participants (the audience #hose primary actions are
seeing and listening).
The Remote Media Immersion system is the next step in audio-visual
fidelity for streaming media delivered on-demand over the Internet. The goal of
the RMI is to push the boundaries beyond #hat is currently available in any
commercial system or other research prototype. Its emphasis is on the highest
quality of audio-visual experiences and most realistic immersive rendering. To
achieve goal #e #ere faced #ith a number of unique challenges and had to
design novel techniques to ma-e RMI a reality. In this report #e presented the
error and flo# control algorithms as #ell as the immersive audio aspects of
RMI. The current RMI setup is out of reach for most home users. .or
#idespread adoption a number of technological advances #ill be necessary
#hich subsequently #ill lead to more affordable prices and ma-e the RMI
system feasible for high-end home use. .or example #e are currently using the
M0$/- 1 algorithm at a lo# compression ratio to achieve our target visual
quality. )n improvement in compression algorithms and affordable hard#are
availability #ill most certainly ma-e the same quality available at lo#er bit
rates in the future (M0$/-8 is a candidate here). 3ence #e envision a cross-
over point in the next fe# years #hen the band#idth required for RMI is belo#
the bit rates that ne# high-speed residential broadband technologies can
deliver (for example very high-speed 4!C or 54!C). In the more distant
future one might envision a portable device #ith a high resolution screen and a
personal immersive audio system. .or a single listener it is possible to achieve
very enveloping audio rendered #ith only t#o spea-ers as long as the position
and shape of the listenerFs ears are -no#n. The 04)of the future #ill at some
point have enough processing capabilities to combine visual trac-ing #ith
adaptive rendering of both audio and video.
CONC-USION
The Remote Media Immersion system is the next step in audio-visual fidelity
for streaming media delivered on-demand over the Internet. The goal of the
RMI is to push the boundaries beyond #hat is currently available in any
commercial system or other research prototype. Its emphasis is on the highest
quality of audio-visual experiences and most realistic immersive
rendering. To achieve our goal #e #ere faced #ith a number of unique
challenges and had to design novel techniques to ma-e RMI a reality. In this
report #e presented the error and flo# control algorithms as #ell as the
immersive audio aspects of RMI. The current RMI setup is out of reach for
most home users. .or #idespread adoption a number of technological advances
#ill be necessary #hich subsequently #ill lead to more affordable prices and
ma-e the RMI system feasible for high-end home use. .or example #e are
currently using the M0$/- 1 algorithm at a lo# compression ratio to achieve
our target visual quality. )n improvement in compression algorithms and
affordable hard#are availability #ill most certainly ma-e the same quality
available at lo#er bit rates in the future (M0$/-8 is a candidate here). 3ence
#e envision a cross-over point in the next fe# years #hen the band#idth
required for RMI is belo# the bit rates that ne# high-speed residential
broadband technologies can deliver (for example very high-speed 4!C or
54!C). )dditionally #e are #or-ing to#ards simplifying and automating the
setup and calibration procedures that are currently necessary. !ubsequently
these signal processing algorithms can be incorporated into multichannel home
receivers at moderate cost. In the more distant future one might envision a
portable device #ith a high resolution screen and a personal immersive audio
system. .or a single listener it is possible to achieve very enveloping audio
rendered #ith only t#o spea-ers as long as the position and shape of the
listenerFs ears are -no#n. The 04) of the future #ill at some point have
enough processing capabilities to combine visual trac-ing #ith adaptive
rendering of both audio and video.
REFERENCES
&oncert 3all )coustics ". )ndo !pringer 5erlag 2e# "or-
Hournal of the )coustical !ociety of )merica
&onference on Multimedia &omputing and 2et#or-ing (MM&2)
!anta &lara &alifornia
R. Iimmermann J. .u &. !hahabi !.-". 4. "ao and 3. Ihu. "imaB
4esign and $valuation of a !treaming Media !ystem for Residential
Eroadband !ervices
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