探索IPTV互动技术与服务：从互联网电视到智能媒体新时代

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《为什么IPTV互动技术与服务》是一本深入探讨交互式个人电视（IPTV）的书籍，由Johan Hjelm撰写，由Ericsson出版，作为Telecoms Explained系列的一部分。该书旨在为电信专业人员提供对IPTV行业的深入了解，帮助读者理解复杂的通信技术和新兴趋势，同时揭示商业模型和价值链，并探索相关的业务应用。书中首先介绍了IPTV的基本概念，包括从互联网电视到互动视频媒体的发展历程，强调了其从传统电视向互动媒体转型的重要性。作者详细讨论了IPTV的价值链，包括商业模型，如英国的红按钮服务，它展示了交互性在实际应用中的潜力。章节二聚焦于IPTV的标准和解决方案，讲述了标准制定的过程，例如Open IPTV论坛架构、ETSI的IPTV标准，以及如何将这些标准应用于实际产品和服务的实施。书中还探讨了下一代消费电子设备与IPTV的互动性，涉及家庭网络连接、UPnP和DLNA技术，以及如何将家庭设备无缝集成。设计交互式IPTV应用程序是书中的核心话题，涵盖了动态内容创建、脚本中的交互整合、用户数据适应性和互动对象的设计。此外，作者还提到了色彩处理、菜单设计和测试方法，以及如何利用用户提供的内容进行内容创作。书中还关注了IPTV的盈利模式，特别是广告和互动元素的结合，包括广告商工具箱和植入广告的设计。章节六讨论了P2P、网络电视、VoD和PVR技术的支付机制，以及用户生成内容的角色。数字版权管理、身份验证、订阅系统和用户存在感等主题在第七章得到了深入剖析，探讨了版权法、数字权利管理技术及其标准化进展。第八章则重点介绍了用户管理、用户资料、存在感和广告测量的相关技术。随着IPTV的进一步发展，第十一章讲述了下一代编码技术，如MPEG-2、MPEG-4及后续技术，以及IMS在网络和流媒体中的作用。章节十二详细阐述了IMS（IP多媒体子系统）架构，包括注册过程、会话管理和质量控制等方面。最后，开发和部署IPTV的挑战和策略在第十三章进行了探讨，涉及增强投票功能、自动化脚本编写、个性化电视体验以及电子节目指南的应用。整本书通过丰富的案例研究和实用建议，帮助读者紧跟IPTV行业的前沿，理解并应用这些关键技术和商业策略。

2 Why IPTV?

works when you rely on the participants. As in a computer game, the actions

of the user can change what happens on the screen. And games technology

is probably one key in creating this new extension of the medium.

That said, there are plenty of experiments with different ways of storytelling,

for instance nonlinear videos (think of it as curved loops of stories turning

back on each other), which create a different experience, but the existing,

linear, format is likely to dominate IPTV programming for a long time to come.

However, if the “TV” part is resistant to change, the “IP” part will make it.

When broadcasts were analog, there were always pioneers trying out ways

to interact with the audience through chat and web pages, and although the

formats were interesting, they were never successes.

Interactive programs have not been a success in most of the world. In

general (apart from the UK), there has not been a widespread deployment

of interactive video applications, although there is one exception: programs

where the viewers can vote.

Users tend either to interact at any time (e.g., when they are using the ser-

vice to get additional information – during sports events for statistics – and are

interested in getting information all the time, not just when a player scores),

or once the linear program has ended (“half-time factual and learning” view-

ers). The main reason to interact is to get a more convenient and enhanced

experience, and to engage in the program to be entertained in a richer way.

Usage peaks after the TV program is broadcast, even if it is made available

on video on demand (VoD). The most efﬁcient trigger for interaction is the

call for interaction from the presenter – in other words, when the viewers

are asked to interact, they will interact, if they know how.

Interactive TV is not the web, however. On a website, there are hyperlinks,

which make the site into a big ball of interconnected pages. There is no

single “right” way to go through it. A television show is different – it has a

linear story. The storyline may be ﬁxed in time (which is usual, since that

is how people experience the world); but it can also be ﬁxed in space, and

in relation to other stories. Although spatial stories are more complicated to

tell, these are where the next generation of user experiences are likely to

happen.

The most successful interactive service is betting. Even if you regard it as

user-provided content, the function of betting is to intensify the user exper-

ience, while at the same time it creates an additional revenue source for

the broadcaster (however, note that betting is forbidden in many countries).

There is one thing that can be gained from the betting experience: if the con-

tent and the interactivity work together, instead of being disconnected, they

enhance each other. This also makes the case for live interactive TV, which

is also cheaper to produce than TV programs built out of chunks of video by

an automatic system on the ﬂy.

In interactive TV, the content creator works more like an advertising com-

pany than a traditional broadcaster. It produces content for which it sells the

rights; if the buyer is a broadcaster, the broadcaster gets the rights to show the

program a number of times, under certain conditions. Usually, the content

4 Why IPTV?

One constraint that has to be taken into account is privacy. Laws about

which information can be given out to whom are nowadays strict in almost

all countries around the world, except the US. The strictest laws when it

comes to individual permission are those in Europe. These laws are based on

an EU directive, and one of the provisions is that the express permission of

the user has to be obtained before any data is used, and data may only be

used for the purpose for which it is collected. So an advertiser either has to

very painstakingly ask everyone to whom he wants to provide information

whether this is allowed, or the service provider has to gather the information

with the explicit purpose of providing it to advertisers.

To get user consensus, it is probably sufﬁcient if the subscription agreement

contains a provision that the service provider can use the data; there is no

need to ask for information every time. Periodic checkups may be required,

but the laws vary in different countries – the European directive is a minimum

stipulation.

In the ecosystem of the earth the majority of life is driven by energy coming

from the sun. In the ecosystem of IPTV, all the actors are driven by energy

coming from the end-user.The end-user pays in three ways: a subscription fee;

a connection fee; and with his attention when he is provided with advertising.

Interactivity adds a fourth way, which the broadcaster currently shares with

a number of service providers.

The IPTV value chain is likely to be the same as the traditional television

value chain at ﬁrst. It will start diverging, and in a few years the picture

may look completely different. Table 1-1 indicates what it looks like today.

The roles do not necessarily happen in all companies. Many of them are

the same, but different parts work in different parts of the chain, and in a

variety of ways. To confuse it a bit, these roles often overlap. A production

company is frequently the rights owner of its productions; a broadcaster can

be a production company.

The value chain ends with the viewer, since it is from the viewer that all

the revenues come in the end. Users want to have the same services that

they are getting today, but better and cheaper. Television is, despite the rise

of the Internet, the most viewed medium. Attractive as it may seem to add

the web to television, things are not that simple. Over 10 years ago, Web TV

(later purchased by Microsoft) tried to make the television the information

terminal of the home, by providing a web browser. Tempting as that may

seem, it is not a way forward: the television is a lean-back device; the web

requires the user to lean forward, to be active. Marshall McLuhan, the last

great media philosopher of the twentieth century, characterized television as

a “hot” medium, which engaged the user and forced them to focus on the

content provided; as opposed to the “cool” medium of radio, which fostered

detachment. The PC is a “lean-forward” device, where we have to act to

interact, press keys or move the cursor to make things happen. Games are

the same. The television is a “lean-back” machine, where the user is not

engaged – other than when the television shows become social objects, and

youhavetowatchHannah Montana to be part of the gang of girls at school.

6 Why IPTV?

who provides the servers from which the content is delivered. In some con-

texts, the viewer pays with his attention, not with money, to view the program.

Advertisers pay for access to the audience that is watching the show.

If the broadcaster is providing interactive TV today, they are probably using

a service provider for the service. This is an aggregator of SMS messages or

premium phone calls; the aggregation can be done at a national level, but if

it is to be proﬁtable, it has to be done for many countries and operators. The

user pays for this, too, but over the telephone bill. If one of the middlemen

could be disintermediated, it would mean more income for the broadcaster

and the other parts of the chain.

Video on demand is popular also for traditional television shows. Many

public broadcasters are putting their programs online (some charging for

it), and people do use them: every month, 7 million program instances are

watched from the Dutch public broadcaster; and on YouTube 70 million

videos are watched every day (although those are mostly short). If users can

delay their television viewing to a more suitable time, they will do so – 50 %

of users in the UK with Sky set-top boxes already do. And enabling this in

IPTV is easy.

Most IPTV services – especiallyVoD services – are not free. They are based

on the user paying a monthly subscription. In some countries, there are free-

to-air channels, which are ﬁnanced by license fees or taxes on television sets

or by similar means; they have to be shown to anyone who has a television

set. Often, this means cable systems must carry them; and while the rules are

not clear when it comes to IPTV, it is not unlikely that IPTV providers must

also carry the free-to-air channels in countries where they exist. This is, of

course, a constraint on the business model – on the other hand, the user has

to have a network connection, and that has to come from a network provider.

In this book, an IP Multimedia Subsystem (IMS) provider is also included, but

for practical reasons that is likely to be the network provider. Even though

the IMS standard talks about the possibility of roaming and interoperability

(and we do too in this book), there is no way to do it today. Anyway, the IMS

operator has to be able to interact with the network infrastructure to provide

the service in an acceptable way, as we will see later.

At the beginning (or the end, depending from where you see it), there is

a different group of companies: those who work with content. In the televi-

sion industry, broadcasters outsource the production of television series and

programs to independent production companies. Their role is to coordinate

the programming, sell advertising, and act as an interface towards the IPTV

service providers and network operators – they have established themselves

in the role as a middleman. The media industry is based on maintaining

copyrights, and while there may be other ways to measure and meter con-

tent usage, digital rights management (in the widest sense) has emerged as

the favorite method of the industry. However, the methods that are applied

today, tightly coupled to devices and charging, may be diminishing user

interest.

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探索IPTV互动技术与服务：从互联网电视到智能媒体新时代

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