Category Archives: Digital Media

My first released WordPress plugin

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A screenshot of the gallery that the external video plugin creates

I’m pretty proud of this, which is why I’m dedicating a short blog post to it: today, John and I released my first WordPress plugin as open source to the WordPress plugins site.

It’s got the boring name “External Videos” and builds a bridge between your WordPress instance and videos of channels on a video hosting site – currently supported are YouTube, Vimeo, and DotSub.

It does this by using a brand-new feature to be introduced in WordPress 3: custom post types.

Check out the screenshots on the plugins page to see more – I’m unfortunately not yet running this Website with WordPress 3, so am not yet using this plugin’s features.

In the admin interface of WordPress, you enter the video channels that you want to pull videos from. Then it goes and pulls the videos with their metadata from these sites and creates video posts for them. That pulling is done once a day to update with new posts. The videos can be looked at in the admin interface under a separate video post section. They can be linked to WordPress posts and pages where the video may be discussed in context.

The video posts can be exposed on the WordPress site through a gallery, which is created by a short code, that can be added to any WordPress page. The gallery of thumbnails clicks through to an overlay with each video and its metadata as well as a link to the related WordPress post.

You can also add a widget to the side bar of the WordPress site with links to the most recent videos.

There are many more features that I want to develop for this plugin. I’d of course like to move it to HTML5 video instead of Adobe Flash. But for now I am happy with it.

I’d like to say thank you to John Ferlito, who helped with some of the coding, to Jeff Waugh for suggesting that it would best be developed using the new post types feature, and to Senator Kate Lundy and Pia Waugh at her office, who funded a part of the development. I am hoping they will find it useful to give their awesome collection of videos better exposure.

NOTE: you can post your issues with this plugin now to the wordpress forum at http://wordpress.org/tags/external-videos

VP8/WebM: Adobe is the key to open video on the Web

Digital Media, open codecs, Open Source, standards, , , , , , , , ,

Google have today announced the open sourcing of VP8 and the creation of a new media format WebM.

Technical Challenges

As I predicted earlier, Google had to match VP8 with an audio codec and a container format – their choice was a subpart of the Matroska format and the Vorbis codec. To complete the technical toolset, Google have:

  • developed ffmpeg patches, so an open source encoding tool for WebM will be available
  • developed GStreamer and DirectShow plugins, so players that build on these frameworks will be able to decode WebM,
  • and developed an SDK such that commercial partners can implement support for WebM in their products.

This has already been successful and several commercial software products are already providing support for WebM.

Google haven’t forgotten the mobile space either – a bunch of Hardware providers are listed as supporters on the WebM site and it can be expected that developments have started.

The speed of development of software and hardware around WebM is amazing. Google have done an amazing job at making sure the technology matures quickly – both through their own developments and by getting a substantial number of partners included. That’s just the advantage of being Google rather than a Xiph, but still an amazing achievement.

Browsers

As was to be expected, Google managed to get all the browser vendors that are keen to support open video to also support WebM: Chrome, Firefox and Opera all have come out with special builds today that support WebM. Nice work!

What is more interesting, though, is that Microsoft actually announced that they will support WebM in future builds of IE9 – not out of the box, but on systems where the codec is already installed. Technically, that is be the same situation as it will be for Theora, but the difference in tone is amazing: in this blog post, any codec apart from H.264 was condemned and rejected, but the blog post about WebM is rather positive. It signals that Microsoft recognize the patent risk, but don’t want to be perceived of standing in the way of WebM’s uptake.

Apple have not yet made an announcement, but since it is not on the list of supporters and since all their devices exclusively support H.264 it stands to expect that they will not be keen to pick up WebM.

Publishers

What is also amazing is that Google have already achieved support for WebM by several content providers. The first of these is, naturally, YouTube, which is offering a subset of its collection also in the WebM format and they are continuing to transcode their whole collection. Google also has Brightcov, Ooyala, and Kaltura on their list of supporters, so content will emerge rapidly.

Uptake

So, where do we stand with respect to a open video format on the Web that could even become the baseline codec format for HTML5? It’s all about uptake – if a substantial enough ecosystem supports WebM, it has all chances of becoming a baseline codec format – and that would be a good thing for the Web.

And this is exactly where I have the most respect for Google. The main challenge in getting uptake is in getting the codec into the hands of all people on the Internet. This, in particular, includes people working on Windows with IE, which is still the largest browser from a market share point of view. Since Google could not realistically expect Microsoft to implement WebM support into IE9 natively, they have found a much better partner that will be able to make it happen – and not just on Windows, but on many platforms.

Yes, I believe Adobe is the key to creating uptake for WebM – and this is admittedly something I have completely overlooked previously. Adobe has its Flash plugin installed on more than 90% of all browsers. Most of their users will upgrade to a new version very soon after it is released. And since Adobe Flash is still the de-facto standard in the market, it can roll out a new Flash plugin version that will bring WebM codec support to many many machines – in particular to Windows machines, which will in turn enable all IE9 users to use WebM.

Why would Adobe do this and thus cement its Flash plugin’s replacement for video use by HTML5 video? It does indeed sound ironic that the current market leader in online video technology will be the key to creating an open alternative. But it makes a lot of sense to Adobe if you think about it.

Adobe has itself no substantial standing in codec technology and has traditionally always had to license codecs. Adobe will be keen to move to a free codec of sufficient quality to replace H.264. Also, Adobe doesn’t earn anything from the Flash plugins themselves – their source of income are their authoring tools. All they will need to do to succeed in a HTML5 WebM video world is implement support for WebM and HTML5 video publishing in their tools. They will continue to be the best tools for authoring rich internet applications, even if these applications are now published in a different format.

Finally, in the current hostile space between Apple and Adobe related to the refusal of Apple to allow Flash onto its devices, this may be the most genius means of Adobe at getting back at them. Right now, it looks as though the only company that will be left standing on the H.264-only front and outside the open WebM community will be Apple. Maybe implementing support for Theora wouldn’t have been such a bad alternative for Apple. But now we are getting a new open video format and it will be of better quality and supported on hardware. This is exciting.

IP situation

I cannot, however, finish this blog post on a positive note alone. After reading the review of VP8 by a x.264 developer, it seems possible that VP8 is infringing on patents that are outside the patent collection that Google has built up in codecs. Maybe Google have calculated with the possibility of a patent suit and put money away for it, but Google certainly haven’t provided indemnification to everyone else out there. It is a tribute to Google’s achievement that given a perceived patent threat – which has been the main inhibitor of uptake of Theora – they have achieved such an uptake and industry support around VP8. Hopefully their patent analysis is sound and VP8 is indeed a safe choice.

UPDATE (22nd May): After having thought about patents and the situation for VP8 a bit more, I believe the threat is really minimal. You should also read these thoughts of a Gnome developer, these of a Debian developer and the emails on the Theora mailing list.

Introducing media accessibility into HTML5

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In recent months, people in the W3C HTML5 Accessibility Task Force developed two proposals for introducing caption, subtitle, and more generally time-aligned text support into HTML5 audio and video.

These time-aligned text files can either come as external files that are associated with the timeline of the media resource, or they come as part of the media resource in a binary track.

For both cases we now have proposals to extend the HTML5 specification.

Firstly, let’s look at time-aligned text in external files. The change proposal introduces markup to associate such external files as a kind of “virtual track” with a media resource. Here is an example:

<video src="video.ogv">
<track src="video_cc.ttml" type="application/ttaf+xml" language="en" role="caption"></track>
<track src="video_tad.srt" type="text/srt" language="en" role="textaudesc"></track>
<trackgroup role="subtitle">
<track src="video_sub_en.srt" type="text/srt; charset='Windows-1252'" language="en"></track>
<track src="video_sub_de.srt" type="text/srt; charset='ISO-8859-1'" language="de"></track>
<track src="video_sub_ja.srt" type="text/srt; charset='EUC-JP'" language="ja"></track>
</trackgroup>
</video>

The video resource is “video.ogv”. Associated with it are five timed text resources.

The first one is written in TTML (which is the new name for DFXP), is a caption track and in English. TTML is particularly useful when you want to provide more than just an unformatted piece of text to the viewers. Hearing-impaired users appreciate any visual help they can be provided with to absorb the caption text more quickly. This includes colour coding of speakers, positioning of text close to the speaking person on screen, or even animated musical notes to signify music. Thus, a format like TTML that allows for formatting and positioning information is an appropriate format to specify captions.

All other timed text resources are provided in SRT format, which is a simpler format that TTML with only plain text in the text cues.

The second text track is a textual audio description track. A textual audio description is in fact targeted at the vision-impaired and contains text that is expected to be read out by a screen reader or routed to a braille device. Thus, as the video plays, a vision-impaired user receives additional information about the visual content of the scene through their screen reader or braille device. The SRT format is particularly useful for providing textual audio descriptions since it only provides plain text, which can easily be handed on to assistive technology. When authoring such textual audio descriptions, it is very important to pick time intervals in the original media resource where no other significant audio cue is provided, such that the vision-impaired user is able to listen to the screen reader during that time.

The last three text tracks are subtitle tracks. They are grouped into a trackgroup element, which is not strictly necessary, but enables the author to say that these tracks are supposed to be alternatives. Thus, a Web Browser can create a menu with all the available tracks and put the tracks in the trackgroup into a menu of their own where only one option is selectable (similar to how radiobuttons work). Incidentally, the trackgroup element also allows to avoid having to repeat the role attribute in all the containing tracks. It is expected that these menus will be added to the default media controls and will thus be visible if the media element has a controls attribute.

With the role, type and language attributes, it is easy for a Web Browser to understand what the different tracks have to offer. A Web Browser can even decide to offer new functionality that is helpful to certain user groups. For example, an addition to a Web Browser’s default settings could be to allow users to instruct a Web Browser to always turn on captions or subtitles if they are available in the user’s main language. Or to always turn on textual audio descriptions. In this way, a user can customise their default experience of a media resource over and on top of what a Web page author decides to expose.

Incidentally, the choice of “track” as a name for relating external text resources to a media element has a deeper meaning. It is easily possible in future to extend “track” elements to not just point to dependent text resources, but also to dependent audio or video resources. For example, an actual audio description that is a recording of a human voice rather than a rendered text description could be association in the same way. Right now, such an implementation is not envisaged by the Browser vendors, but it will be something to work towards in the future.

Now, with such functionality available, there is naturally a desire to be able to control activation or de-activation of text tracks through JavaScript, not just through user interaction. A Web Developer may for example want to override the default controls provided by a Web Browser and run their own JavaScript-based controls, thus requiring to create their own selection menu for the tracks.

This is actually also an issue more generally and applies to all track types, including such tracks that come inside an existing media resource. In the current specification such tracks are not exposed and can therefore not be activated.

This is where the second specification that the W3C Accessibility Task Force has worked towards comes in: the media multitrack JavaScript API.

This specification introduces a read-only JavaScript interface to the audio and video elements to allow Web Developers to find out about the tracks (including the virtual tracks) that a media resource offers. The only action that the interface currently provides is to enable or disable tracks.
Here is an example use to turn on a french subtitle track:

if (video.tracks[2].role == "subtitle" && video.tracks[2].language == "fr") video.tracks[2].enabled = true;

There is still a need to introduce a means to actually expose the text cues as they relate to the currentTime of the media resource. This has not yet been specified in the given proposals.

The text cues could be exposed in several ways. They could be exposed through introducing an event, i.e. every time a new text cue becomes active, a callback is called which is given the active text cue (if such a callback had been registered previously). Another option is to simply write the text cues into a specified div-element in the DOM and thus expose them directly in the Browser. A third idea could be to expose the text cues in an iframe-like element to avoid any cross-site security issues. And a fourth idea that we have discussed is to expose the text cues in an attribute of the track.

All of this obviously also relates to how to actually render the text cues and whether to render them in a shadow DOM so as to make the JavaScript reading separate from the rendering and address security and copyright issues. I’d be curious in opinions here on how it should be done.

W3C Media Annotations API standard

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Recently, I was asked to review the W3C Media Annotations specifications as they are about to go into Last Call (a state that comes before the request for implementations at the W3C).

The W3C Media Annotations group has defined a set of metadata that they believe is representative and common for media resources. The ontology consist of the following fields:

  • ma:identifier: a URI or string to identify a resource
  • ma:title: a string providing the title of the resource
  • ma:language: a language code describing the language used in the resource
  • ma:locator: the URI at which the resource can be accessed
  • ma:contributor: a URI or string identifying the contributor and the nature of the contribution
  • ma:creator: a URI or string identifying an author
  • ma:createDate: a date of creation or publication of the resource
  • ma:location: a string or geo code identifying where the resource has been shot/recorded
  • ma:description: a string describing the content of the resource
  • ma:keyword: a word or word combination providing a topic, keyword or tag representing the resource
  • ma:genre: a string providing the genre of the resource
  • ma:rating: rating value, including the rating scale
  • ma:relation: a URI and string identifying a related resource and the relationship
  • ma:collection: a URI or string providing the name of a collection to which the resource belongs
  • ma:copyright: a URI or string with the copyright statement.
  • ma:license: a string or URI with the usage license
  • ma:publisher: a string or URI with the publisher of the resource
  • ma:targetAudience: a URI and classification string providing the issuer of the classification and the classification value
  • ma:fragments: a list of string and URI values that identify media fragments and their type
  • ma:namedFragments: a list of string and URI values the provide names to media fragments
  • ma:frameSize: a width – height pair in pixels
  • ma:compression: a string providing the compression algorithm
  • ma:duration: a float to provide the resource duration in seconds
  • ma:format String: the mime type of the resource
  • ma:samplingrate: a float with the audio sampling rate
  • ma:framerate: a float with the video frame rate
  • ma:bitrate: a float providing the average bit rate in kbps
  • ma:numTracks: an int of the number of tracks

Note that some of these fields are not single values, but simple constructs of multiple values. Thus, they are actually more complex than name-value pairs that, e.g. are typically used in HTML meta headers or in Dublin Core. I regard this as an issue for implementations.

The fields were chosen as typical metadata being available about media resources. The media fragments fields are a bit dubious in this respect, but could be useful in future.

The metadata is determined either from within the resource itself or from a metadata collection about the resource. As such, the document maps several existing metadata and media resource formats to this interface, amongst them:

As they didn’t have a mapping table for Ogg content, I offered the following:

MAWG Relation Ogg properties How to do the mapping Datatype
Descriptive Properties (Core Set)
Identification
ma:identifier exact Name Name field in skeleton header (new) String
ma:title exact Title TITLE field in vorbiscomment header String
exact Title Title field in skeleton header (new) String
related Album ALBUM title in vorbiscomment header String
ma:language exact Language Language field in skeleton header (new) language code
ma:locator exact file URI from system URI
Creation
ma:contributor exact Artist, Performer ARTIST and PERFORMER vorbiscomment headers Strings
ma:creator related Organization ORGANIZATION field in vorbiscomment header
ma:createDate exact Date DATE field in vorbiscomment header ISO date format
ma:location exact Location LOCATION field in vorbiscomment header String
Content description
ma:description exact Description DESCRIPTION field in vorbiscomment header String
ma:keyword N/A
ma:genre exact Genre GENRE field in vorbiscomment header String
ma:rating N/A
Relational
ma:relation related Version, Tracknumber VERSION (version of a title), TRACKNUMBER (CD track) fields in vorbiscomment header Strings
ma:collection related Album ALBUM field of vorbiscomment header String
Rights
ma:copyright exact Copyright COPYRIGHT field of vorbiscomment header String
ma:license exact License LICENSE field of vorbiscomment header String
Distribution
ma:publisher related Organization ORGNIZATION field of vorbiscomment header String
ma:targetAudience more specific Role Role field of Skeleton header (new) String
Fragments
ma:fragments N/A
ma:namedFragments N/A
Technical Properties
ma:frameSize exact extract from binary header of video track int, int (width x height)
ma:compression exact Content-type Content-type field of Skeleton header MIME type
ma:duration exact calculate as duration = last_sample_time – first_sample_time of OggIndex header of skeleton Float (or rather: rational – rational)
ma:format exact Content-type Content-type field of Skeleton header MIME type
ma:samplingrate exact calculate as granulerate = granulerate_numerator / granulerate_denominator of Skeleton header Rational (or rather int / int)
ma:framerate exact calculate as granulerate = granulerate_numerator / granulerate_denominator of Skeleton header Rational (or rather int / int)
ma:bitrate exact calculate as bitrate = length_of_segment / duration from OggIndex headers of skeleton Float
ma:numTracks exact Tracknumber TRACKNUMBER field of vorbiscomment header (track number on album) Int

You will notice that the table mentions 4 fields in skeleton with a “new” marker – they are actually proposed fields in skeleton – a bit of coding will be necessary to introduce them into software. The space for these fields already exists in message header fields, so it won’t require a change of the skeleton format.

In the second specification of the Media Annotations WG, the group offers a standard API to access (i.e. read) the defined fields. They also intend to create an API to write the fields, but I doubt that will be easy because of the vast amount of file types they intend to support.

There is basically a single function that allows the extraction of metadata:

MAObject[] getProperty(in DOMString propertyName, in optional DOMString sourceFormat, in optional DOMString subtype, in optional DOMString language, in optional DOMString fragment );

I proposed it may be possible to include this into HTML5 as follows:

interface HTMLMediaElement : HTMLElement {
...
getter MAObject getProperty(in DOMString propertyName, in optional unsigned long trackIndex);
...
}

This would either extract the property for a particular track in a media resource or for the complete resource if no track index is given. The only problem I see is that the returned object is different depending on the requested property – the MAObject is only a parent class for the returned object types. I am not sure it is therefore possible to specify this easily in HTML5.

Overall I thought the specification was a nice piece of work. I am not sure I agree with all the chosen fields, but that is always an issue with metadata. The most important fields are there and that’s what matters.

HTML5 Media and Accessibility presentation

Digital Media, open codecs, Open Source, standards, video accessibility, ,

Today, I was invited to give a talk at my old workplace CSIRO about the HTML5 media elements and accessibility.

A lot of the things that have gone into Ogg and that are now being worked on in the W3C in different working groups – including the Media Fragments and HTML5 WGs – were also of concern in the Annodex project that I worked on while at CSIRO. So I was rather excited to be able to report back about the current status in HTML5 and where we’re at with accessibility features.

Check out the presentation here. It contains a good collection of links to exciting demos of what is possible with the new HTML5 media elements when combined with other HTML features.

I tried something now with this presentation: I wrote it in a tool called S5, which makes use only of HTML features for the presentation. It was quite a bit slower than I expected, e.g. reloading a page always included having to navigate to that page. Also, it’s not easily possible to do drawings, unless you are willing to code them all up in HTML. But otherwise I have found it very useful for, in particular, including all the used URLs and video element demos directly in the slides. I was inspired with using this tool by Chris Double’s slides from LCA about implementing HTML 5 video in Firefox.

Google’s challenges of freeing VP8

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Since On2 Technology’s stockholders have approved the merger with Google, there are now first requests to Google to open up VP8.

I am sure Google is thinking about it. But … what does “it” mean?

Freeing VP8
Simply open sourcing it and making it available under a free license doesn’t help. That just provides open source code for a codec where relevant patents are held by a commercial entity and any other entity using it would still need to be afraid of using that technology, even if it’s use is free.

So, Google has to make the patents that relate to VP8 available under an irrevocable, royalty-free license for the VP8 open source base, but also for any independent implementations of VP8. This at least guarantees to any commercial entity that Google will not pursue them over VP8 related patents.

Now, this doesn’t mean that there are no submarine or unknown patents that VP8 infringes on. So, Google needs to also undertake an intensive patent search on VP8 to be able to at least convince themselves that their technology is not infringing on anyone else’s. For others to gain that confidence, Google would then further have to indemnify anyone who is making use of VP8 for any potential patent infringement.

I believe – from what I have seen in the discussions at the W3C – it would only be that last step that will make companies such as Apple have the confidence to adopt a “free” codec.

An alternative to providing indemnification is the standardisation of VP8 through an accepted video standardisation body. That would probably need to be ISO/MPEG or SMPTE, because that’s where other video standards have emerged and there are a sufficient number of video codec patent holders involved that a royalty-free publication of the standard will hold a sufficient number of patent holders “under control”. However, such a standardisation process takes a long time. For HTML5, it may be too late.

Technology Challenges
Also, let’s not forget that VP8 is just a video codec. A video codec alone does not encode a video. There is a need for an audio codec and a encapsulation format. In the interest of staying all open, Google would need to pick Vorbis as the audio codec to go with VP8. Then there would be the need to put Vorbis and VP8 in a container together – this could be Ogg or MPEG or QuickTime’s MOOV. So, apart from all the legal challenges, there are also technology challenges that need to be mastered.

It’s not simple to introduce a “free codec” and it will take time!

Google and Theora
There is actually something that Google should do before they start on the path of making VP8 available “for free”: They should formulate a new license agreement with Xiph (and the world) over VP3 and Theora. Right now, the existing license that was provided by On2 Technologies to Theora (link is to an early version of On2’s open source license of VP3) was only for the codebase of VP3 and any modifications of it, but doesn’t in an obvious way apply to an independent re-implementations of VP3/Theora. The new agreement between Google and Xiph should be about the patents and not about the source code. (UPDATE: The actual agreement with Xiph apparently also covers re-implementations – see comments below.)

That would put Theora in a better position to be universally acceptable as a baseline codec for HTML5. It would allow, e.g. Apple to make their own implementation of Theora – which is probably what they would want for ipods and iphones. Since Firefox, Chrome, and Opera already support Ogg Theora in their browsers using the on2 licensed codebase, they must have decided that the risk of submarine patents is low. So, presumably, Apple can come to the same conclusion.

Free codecs roadmap
I see this as the easiest path towards getting a universally acceptable free codec. Over time then, as VP8 develops into a free codec, it could become the successor of Theora on a path to higher quality video. And later still, when the Internet will handle large resolution video, we can move on to the BBC’s Dirac/VC2 codec. It’s where the future is. The present is more likely here and now in Theora.


ADDITION:
Please note the comments from Monty from Xiph and from Dan, ex-On2, about the intent that VP3 was to be completely put into the hands of the community. Also, Monty notes that in order to implement VP3, you do not actually need any On2 patents. So, there is probably not a need for Google to refresh that commitment. Though it might be good to reconfirm that commitment.


ADDITION 10th April 2010:
Today, it was announced that Google put their weight behind the Theorarm implementation by helping to make it BSD and thus enabling it to be merged with Theora trunk. They also confirm on their blog post that Theora is “really, honestly, genuinely, 100% free”. Even though this is not a legal statement, it is good that Google has confirmed this.

Accessibility support in Ogg and liboggplay

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At the recent FOMS/LCA in Wellington, New Zealand, we talked a lot about how Ogg could support accessibility. Technically, this means support for multiple text tracks (subtitles/captions), multiple audio tracks (audio descriptions parallel to main audio track), and multiple video tracks (sign language video parallel to main video track).

Creating multitrack Ogg files
The creation of multitrack Ogg files is already possible using one of the muxing applications, e.g. oggz-merge. For example, I have my own little collection of multitrack Ogg files at http://annodex.net/~silvia/itext/elephants_dream/multitrack/. But then you are stranded with files that no player will play back.

Multitrack Ogg in Players
As Ogg is now being used in multiple Web browsers in the new HTML5 media formats, there are in particular requirements for accessibility support for the hard-of-hearing and vision-impaired. Either multitrack Ogg needs to become more of a common case, or the association of external media files that provide synchronised accessibility data (captions, audio descriptions, sign language) to the main media file needs to become a standard in HTML5.

As it turn out, both these approaches are being considered and worked on in the W3C. Accessibility data that are audio or video tracks will in the near future have to come out of the media resource itself, but captions and other text tracks will also be available from external associated elements.

The availability of internal accessibility tracks in Ogg is a new use case – something Ogg has been ready to do, but has not gone into common usage. MPEG files on the other hand have for a long time been used with internal accessibility tracks and thus frameworks and players are in place to decode such tracks and do something sensible with them. This is not so much the case for Ogg.

For example, a current VLC build installed on Windows will display captions, because Ogg Kate support is activated. A current VLC build on any other platform, however, has Ogg Kate support deactivated in the build, so captions won’t display. This will hopefully change soon, but we have to look also beyond players and into media frameworks – in particular those that are being used by the browser vendors to provide Ogg support.

Multitrack Ogg in Browsers
Hopefully gstreamer (which is what Opera uses for Ogg support) and ffmpeg (which is what Chrome uses for Ogg support) will expose all available tracks to the browser so they can expose them to the user for turning on and off. Incidentally, a multitrack media JavaScript API is in development in the W3C HTML5 Accessibility Task Force for allowing such control.

The current version of Firefox uses liboggplay for Ogg support, but liboggplay’s multitrack support has been sketchy this far. So, Viktor Gal – the liboggplay maintainer – and I sat down at FOMS/LCA to discuss this and Viktor developed some patches to make the demo player in the liboggplay package, the glut-player, support the accessibility use cases.

I applied Viktor’s patch to my local copy of liboggplay and I am very excited to show you the screencast of glut-player playing back a video file with an audio description track and an English caption track all in sync:

elephants_dream_with_audiodescriptions_and_captions

Further developments
There are still important questions open: for example, how will a player know that an audio description track is to be played together with the main audio track, but a dub track (e.g. a German dub for an English video) is to be played as an alternative. Such metadata for the tracks is something that Ogg is still missing, but that Ogg can be extended with fairly easily through the use of the Skeleton track. It is something the Xiph community is now working on.

Summary
This is great progress towards accessibility support in Ogg and therefore in Web browsers. And there is more to come soon.

How to display seeked position for HTML5 video

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Recently, I was asked for some help on coding with an HTML5 video element and its events. In particular the question was: how do I display the time position that somebody seeked to in a video?

Here is a code snipped that shows how to use the seeked event:


<video onseeked="writeVideoTime(this.currentTime);" src="video.ogv" controls></video>
<p>position:</p><div id="videotime"></div>
<script type="text/javascript">
// get video element
var video = document.getElementsByTagName("video")[0];
function writeVideoTime(t) {
document.getElementById("videotime").innerHTML=t;
}
</script>

Other events that can be used in a similar way are:

  • loadstart: UA requests the media data from the server
  • progress: UA is fetching media data from the server
  • suspend: UA is on purpose idling on the server connection mid-fetching
  • abort: UA aborts fetching media data from the server
  • error: UA aborts fetching media because of a network error
  • emptied: UA runs out of network buffered media data (I think)
  • stalled: UA is waiting for media data from the server
  • play: playback has begun after play() method returns
  • pause: playback has been paused after pause() method returns
  • loadedmetadata: UA has received all its setup information for the media resource, duration and dimensions and is ready to play
  • loadeddata: UA can render the media data at the current playback position for the first time
  • waiting: playback has stopped because the next frame is not available yet
  • playing: playback has started
  • canplay: playback can resume, but at risk of buffer underrun
  • canplaythrough: playback can resume without estimated risk of buffer underrun
  • seeking: seeking attribute changed to true (may be too short to catch)
  • seeked: seeking attribute changed to false
  • timeupdate: current playback position changed enough to report on it
  • ended: playback stopped at media resource end; ended attribute is true
  • ratechange: defaultPlaybackRate or playbackRate attribute have just changed
  • durationchange: duration attribute has changed
  • volumechange:volume attribute or the muted attribute has changed

Please refer to the actual event list in the specification for more details and more accurate information on the events.

Audio Track Accessibility for HTML5

code, Digital Media, FOMS, open codecs, Open Source, standards, video accessibility, , , , , , , , ,

I have talked a lot about synchronising multiple tracks of audio and video content recently. The reason was mainly that I foresee a need for more than two parallel audio and video tracks, such as audio descriptions for the vision-impaired or dub tracks for internationalisation, as well as sign language tracks for the hard-of-hearing.

It is almost impossible to introduce a good scheme to deliver the right video composition to a target audience. Common people will prefer bare a/v, vision-impaired would probably prefer only audio plus audio descriptions (but will probably take the video), and the hard-of-hearing will prefer video plus captions and possibly a sign language track . While it is possible to dynamically create files that contain such tracks on a server and then deliver the right composition, implementation of such a server method has not been very successful in the last years and it would likely take many years to roll out such new infrastructure.

So, the only other option we have is to synchronise completely separate media resource together as they are selected by the audience.

It is this need that this HTML5 accessibility demo is about: Check out the demo of multiple media resource synchronisation.

I created a Ogg video with only a video track (10m53s750). Then I created an audio track that is the original English audio track (10m53s696). Then I used a Spanish dub track that I found through BlenderNation as an alternative audio track (10m58s337). Lastly, I created an audio description track in the original language (10m53s706). This creates a video track with three optional audio tracks.

I took away all native controls from these elements when using the HTML5 audio and video tag and ran my own stop/play and seeking approaches, which handled all media elements in one go.

I was mostly interested in the quality of this experience. Would the different media files stay mostly in sync? They are normally decoded in different threads, so how big would the drift be?

The resulting page is the basis for such experiments with synchronisation.

The page prints the current playback position in all of the media files at a constant interval of 500ms. Note that when you pause and then play again, I am re-synching the audio tracks with the video track, but not when you just let the files play through.

I have let the files play through on my rather busy Macbook and have achieved the following interesting drift over the course of about 9 minutes:

Drift between multiple parallel played media elements

You will see that the video was the slowest, only doing roughly 540s, while the Spanish dub did 560s in the same time.

To fix such drifts, you can always include regular re-synchronisation points into the video playback. For example, you could set a timeout on the playback to re-sync every 500ms. Within such a short time, it is almost impossible to notice a drift. Don’t re-load the video, because it will lead to visual artifacts. But do use the video’s currentTime to re-set the others. (UPDATE: Actually, it depends on your situation, which track is the best choice as the main timeline. See also comments below.)

It is a workable way of associating random numbers of media tracks with videos, in particular in situations where the creation of merged files cannot easily be included in a workflow.

Government Report: “Access to Electronic Media for the Hearing and Vision Impaired”

Digital Media, standards, video accessibility, , , ,

Today was the last day to provide a submission and input to the Australian Government’s discussion report on “Access to Electronic Media for the Hearing and Vision Impaired: Approaches for Consideration”.

The report explains the Australian Government’s existing regulatory framework for accessibility to audio-visual content on TV, digital TV, DVDs, cinemas, and the Internet, and provides an overview about what it is planning to do over the next 3-5 years.

It is interesting to read that according to the Australian Bureau of Statistics about 2.67 million Australians – one in every eight people – have some form of hearing loss and 284,000 are completely or partially blind. Also, it is expected that these numbers will increase with an ageing population and obesity-linked diabetes are expected to continue to increase these numbers.

For obvious reasons, I was particularly interested in the Internet-related part of the report. It was the second-last section (number five), and to be honest, I was rather disappointed: only 3 pages of the 40 page long report concerned themselves with Internet content. Also, the main message was that “at this time the costs involved with providing captions for online content were deemed to represent an undue financial impost on a relatively new and developing service.”

Audio descriptions weren’t even touched with a stick and both were written off with “a lack of clear online caption production and delivery standard and requirements”. There is obviously a lot of truth to the statements of the report – the Internet audio-visual content industry is still fairly young compared to e.g. TV, and there are a multitude of standards rather than a single clear path.

However, I believe the report neglected to mention the new HTML5 video and audio elements and the opportunity they provide. Maybe HTML5 was excluded because it wasn’t expected to be relevant within the near future. I believe this is a big mistake and governments should pay more attention to what is happening with HTML5 audio and video and the opportunities they open for accessibility.

In the end, I made a submission because I wanted the Australian Government to wake up to the HTML5 efforts and I wanted to correct a mistake they made with claiming MPEG-2 was “not compatible with the delivery of closed audio descriptions”.

I believe a lot more can be done with accessibility for Internet content than just “monitor international developments” and industry partnership with disability representative groups. I therefore proposed to undertake trials in particular with textual audio descriptions to see if they could be produced in a similar manner to captions, which would make their cost come down enormously. Also I suggested actually aiming for WCAG 2.0 conformance within the next 5 years – which for audio-visual content means at minimum captions and audio descriptions.

You can read the report here and my 4 page long submission here.