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563.12.3 Digital Rights Management

563.12.3 Digital Rights Management. Presented by: Kasem Kharbat DRM Group: Archana Dutta, Haoweng Huang, Dmitry Mogilevsky, Kasem Kharbat University of Illinois Spring 2006. Overview. What is MPEG-4 ? What goals does MPEG-4 achieve ? What is the system model for MPEG-4? Layers?

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563.12.3 Digital Rights Management

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  1. 563.12.3 Digital Rights Management Presented by: Kasem Kharbat DRM Group: Archana Dutta, Haoweng Huang, Dmitry Mogilevsky, Kasem Kharbat University of Illinois Spring 2006

  2. Overview • What is MPEG-4 ? • What goals does MPEG-4 achieve ? • What is the system model for MPEG-4? Layers? • How does MPEG-4 deal with the DRM question? • What are the main components of IPMP in MPEG-4? • What is the IPMP “Hooks” in MPEG-4? What do they look like? • Is the “Hooks” approach sufficient? Why not? • Conclusion

  3. MPEG: Moving Picture Experts Group • MPEG-1: Cd-i, (Video CD, VoD, Streaming), ... - ready 1992 • MPEG-2: ... + TV, HDTV - ready 1994 • MPEG-3 (was HDTV - included in MPEG-2) • MPEG-4: Coding of Audiovisual Objects – ready 1998 (V.1), 1999 (V.2), extension work ongoing • MPEG-7: Description of Multimedia Content – ready in 2001 • MPEG-21: Multimedia Framework – first parts ready early 2002 MPEG Home

  4. MPEG4 is a Standard • MPEG4: ISO/IEC Standard for coded representation of audio and visual data for transmission. • Defines Coded representation & method of decoding for media objects. • Does not give implementation. • Does not enforce Digital Right Management (DRM)

  5. Multimedia Streaming • Media • Synthetic, Natural, Animated • Audio, Video, Image, Graphics, Meshes, Text • 2D, 3D • Interactivity • Client/Server, Programmable Multimedia • Universal Access and Network Quality • Any transport protocol, wide bandwidth range • Maximal Compression

  6. The Big Picture

  7. Achieved Goals • Represent units of aural, visual or audiovisual content, called “media objects”. • Describe the composition of these objects to create compound media objects that form audiovisual scenes • Multiplex and synchronize media objects to be transported over network channels based on receiving end specs. • Interact with the audiovisual scene generated at the receiver’s end. Overview of the MPEG-4 Standard, Rob Koenen, N4668, March. 2002

  8. System Model • From Systems perspective can be thought of as layers or functional pieces in an architecture.

  9. Layers • Composition Layer: Only in Decoder for reconstruction of scene. • Media Layer: Actual Encoding/Decoding Media representation in BIFS and ODs • Sync Layer: Tradeoffs of optimal bandwidth, right format and timely transmission. • Transport Layer: “Media unaware & delivery aware”

  10. DRM in MPEG-4 • MPEG refers to DRM as “Intellectual Property Management and Protection (IPMP)” • MPEG-4 defines “Hooks” for IPMP but does not enforce it. • Key areas • Identification of content • Automated monitoring and tracking of creations • Prevention of illegal copying • Tracking object manipulation and modification history • Supporting transactions between Users Media Distributors and Rights Holders • Concerned entities • Authors, broadcasters, collection societies, consumers, creation providers, creators, rights management agencies, media companies, media distributors, performers, producers, publishers, retailers, rights holders, telecom companies and trusted third parties.

  11. IPMP in MPEG-4 • Framework • Identification of Intellectual Property (hooks for identification of content) • Protection (hooks to ensure that the information “if exists” is not removed or altered) • Hooks approach was pursued • MPEG-4 does not: • Enforce IPMP tools upon all MPEG-4 content and MPEG-4 players • Standardize a complete DRM system Intellectual Property Management and Protection in MPEG Standards, Rob Koenen, N3943, Jan. 2001

  12. Identification of Intellectual Property • The Intellectual Property dataset identifies the following: • Whether the content is protected by a (non-standard) IPMP System • The type of the content (Audiovisual, Audio, Visual, Still Picture, .) • The Registration Authority that hands out unique numbers for the type of content: ISAN (International Standard Audiovisual Number), ISBN, ISRC (International Standard Recording Code), etc. • The number that identifies the content according to such a system • Variable length fields for titles and supplementary information. • References to separate data streams with such information. • Identification can be applied at the level of an object (i.e. movie, single sound clip…etc) • The standard does not prescribe • When • How often to use such descriptors • MPEG does not (and, due to its nature, cannot) enforce that this information be present, persistent or correct. However, prohibited by international treaties and legislation.

  13. Protection • MPEG-4 integrates the hooks tightly with the systems layer • The bitstream embeds information that informs the terminal which (of possibly multiple) IPMP system should be used to process governed objects in compliance with rules declared by the content provider • The respective IPMP tools themselves were not specified within MPEG-4. • Standard interfaces to proprietary IPMP tools • In 1997 broad consensus NOT to specify IPMP tools • One size does not fit all (Cost-Benefit) • Fear of laundry of high value content through low protection devices • Tight integration of ‘hooks’ with MPEG-4 Systems layer • Special Descriptors and Stream Type for IPMP information • Special Registration Authority for registering IPMP Systems • Architecture allows management next to protection

  14. IPMP “Hooks” in MPEG-4 DMIF: Delivery Layer/ DB: Decoding Buffer / CB: Composition Buffer / OD: Object Descriptor / BIFS: Binary Format for Scenes / ES: Elementary Stream / Ds: Descriptors

  15. “Hooks” Description • Two simple extensions of basic MPEG-4 systems constructs: • IPMP-Descriptors (IPMP-Ds) • What IPMP tools? • IPMP-Elementary Streams (IPMP-ES) • Data for IPMP tools Intellectual Property Management and Protection in MPEG Standards, Rob Koenen, N3943, Jan. 2001

  16. “Hooks” Approach Merit • Hooks Approach proved to be NOT sufficient. • No guarantee for “interoperability” • Music industry generated “Secure Digital Music Initiative” (SDMI) • SDMI still did not guarantee “interoperability” • Lack of “Renewability” for broken IPMP systems • Standard rights description language may be helpful. • “IPMP Extensions” (IPMPX ) as a solution • The main goal seeked; “Interoperability”

  17. Conclusion • MPEG-4 does not enforce Digital Right Management • MPEG-4 has the interface to be integrated by any device manufacturer • MPEG-4 designed IPMPX to tackle the interworkings of IPMP systems and their interoperability.

  18. For any questions; please email me @ kharbat@uiuc.edu • Or post to the news group Thank you

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