We consider the problem of embedding one signal (e.g., a digital watermark), within another "host" signal to form a third, "composite" signal. The embedding is designed to achieve efficient tradeoffs among the three conflicting goals of maximizing information-embedding rate, minimizing distortion between the host signal and composite signal, and maximizing the robustness of the embedding. We introduce new classes of embedding methods, termed quantization index modulation (QIM) and distortion-compensated QIM (DC-QIM), and develop convenient realizations in the form of what we refer to as dither modulation. Using deterministic models to evaluate digital watermarking methods, we show that QIM is "provably good" against arbitrary bounded and fully informed attacks, which arise in several copyright applications, and in particular, it achieves provably better rate distortion--robustness tradeoffs than currently popular spread-spectrum and low-bit(s) modulation methods. Furthermore, we show that for some important classes of probabilistic models, DC-QIM is optimal (capacity-achieving) and regular QIM is near-optimal. These include both additive white Gaussian noise (AWGN) channels, which may be good models for hybrid transmission applications such as digital audio broadcasting, and mean-square-error-constrained attack channels that model private-key watermarking applications.

Abstract—An information-theoretic analysis of information hiding is presented in this paper, forming the theoretical basis for design of information-hiding systems. Information hiding is an emerging research area which encompasses applications such as copyright protection for digital media, watermarking, fingerprinting, steganography, and data embedding. In these applications, information is hidden within a host data set and is to be reliably communicated to a receiver. The host data set is intentionally corrupted, but in a covert way, designed to be imperceptible to a casual analysis. Next, an attacker may seek to destroy this hidden information, and for this purpose, introduce additional distortion to the data set. Side information (in the form of cryptographic keys and/or information about the host signal) may be available to the information hider and to the decoder. We formalize these notions and evaluate the hiding capacity, which upper-bounds the rates of reliable transmission and quantifies the fundamental tradeoff between three quantities: the achievable information-hiding rates and the allowed distortion levels for the information hider and the attacker. The hiding capacity is the value of a game between the information hider and the attacker. The optimal attack strategy is the solution of a particular rate-distortion problem, and the optimal hiding strategy is the solution to a channel-coding problem. The hiding capacity is derived by extending the Gel’fand–Pinsker theory of communication with side information at the encoder. The extensions include the presence of distortion constraints, side information at the decoder, and unknown communication channel. Explicit formulas for capacity are given in several cases, including Bernoulli and Gaussian problems, as well as the important special case of small distortions. In some cases, including the last two above, the hiding capacity is the same whether or not the decoder knows the host data set. It is shown that many existing information-hiding systems in the literature operate far below capacity. Index Terms—Channel capacity, cryptography, fingerprinting, game theory, information hiding, network information theory,

In this paper, we review recent developments in transparent data embedding and watermarking for audio, image, and video. Data-embedding and watermarking algorithms embed text, binary streams, audio, image, or video in a host audio, image, or video signal. The embedded data are perceptually inaudible or invisible to maintain the quality of the source data. The embedded data can add features to the host multimedia signal, e.g., multilingual soundtracks in a movie, or provide copyright protection. We discuss the reliability of data-embedding procedures and their ability to deliver new services such as viewing a movie in a given rated version from a single multicast stream. We also discuss the issues and problems associated with copy and copyright protections and assess the viability of current watermarking algorithms as a means for protecting copyrighted data. Keywords—Copyright protection, data embedding, steganography, watermarking. I.

this article we discuss image files and how to hide

The growth of new imaging technologies has created a need for techniques that can be used for copyright protection of digital images. Copyright protection involves the authentication of image content and/or ownership and can be used to identify illegal copies of a (possibly forged) image. One approach for copyright protection is to introduce an invisible signal known as a digital watermark in the image. In this paper, we describe digital image watermarking techniques, known as perceptually based watermarks, that are designed to exploit aspects of the human visual system. In the most general sense, any watermarking technique that attempts to incorporate an invisible mark into an image is perceptually based. However, in order to provide transparency (invisibility of the watermark) and robustness to attack, more sophisticated use of perceptual information in the watermarking process is required. Several techniques have been introduced that incorporate a simple visual model in the marking procedure. Such techniques usually take advantage of frequency selectivity and weighing to provide some perceptual criteria in the watermarking process. Even more elaborate visual models are used to develop schemes that not only take advantage of frequency

We give cryptographic schemes that help trace the source of leaks when sensitive or proprietary data is made available to a large set of parties. A very relevant application is in the context of pay television, where only paying customers should be able to view certain programs. In this application the programs are normally encrypted and then the sensitive data is the decryption keys that are given to paying customers. If a pirate decoder is found it is desirable to reveal the source of its decryption keys. We describe fully resilient schemes which can be used against any decoder which decrypts with non-negligible probability. Since there is typically little demand for decoders which decrypt only a small fraction of the transmissions (even if it is non-negligible), we further introduce threshold tracing schemes which can only be used against decoders which succeed in decryption with probability greater than some threshold. Threshold schemes are considerably more efficient than fully resilient schemes.

this paper, methods for embedding additive digital watermarks into uncompressed and compressed video sequences are presented. The basic principle borrows from spread spectrum communications. It consists of addition of an encrypted, pseudo-noise signal to the video that is invisible, statistically unobtrusive, and robust against manipulations. For practical applications, watermarking schemes operating on compressed video are desirable. A method for watermarking of MPEG-2 encoded video is presented. The scheme is a compatible extension of the scheme operating on uncompressed video. The watermark is generated exactly in the same manner as for uncompressed video, transformed using the discrete cosine transform (DCT) and embedded into the MPEG-2 bitstream without increasing the bit-rate. The watermark can be retrieved from the decoded video and without knowledge of the original, unwatermarked video. Although an existing MPEG-2 bitstream is partly altered, the scheme avoids visible artifacts by addition of a drift compensation signal. The proposed method is robust and of much lower complexity than a complete decoding process followed by watermarking in the pixel domain and re-encoding. Fast implementations exist which have a complexity comparable to a video decoder. Experimental results are given. The scheme is also applicable to other hybrid transform coding schemes like MPEG-1, MPEG-4, H.261, and H.263. Key words: digital watermarking, copyright protection, compressed video, MPEG-2, MPEG-4, DVD Preprint submitted to Elsevier Preprint 1 Introduction With the advent of digital video, issues of copyright protection have become more important, since the duplication of digital video signals does not result in the inherent decrease in quality suffered by analog video. A method ...

We propose a watermarking scheme to hide copyright information in an image. The scheme employs visual masking to guarantee that the embedded watermark is invisible and to maximize the robustness of the hidden data. The watermark is constructed for arbitrary image blocks by filtering a pseudo-noise sequence (author id) with a filter that approximates the frequency masking characteristics of the visual system. The noise-like watermark is statistically invisible to deter unauthorized removal. Experimental results show that the watermark is robust to several distortions including white and colored noises, JPEG coding at di#erent qualities, and cropping. 1.

In this paper, we present a novel technique for embedding digital "watermarks" into digital audio signals. Watermarking is a technique used to label digital media by hiding copyright or other information into the underlying data. The watermark must be imperceptible and should be robust to attacks and other types of distortion. In addition, the watermark also should be undetectable by all users except the author of the piece. In our method, the watermark is generated by filtering a PN-sequence with a filter that approximates the frequency masking characteristics of the human auditory system (HAS). It is then weighted in the time domain to account for temporal masking. We discuss the detection of the watermark and assess the robustness of our watermarking approach to attacks and various signal manipulations. 1 Introduction In today's digital world, there is a great wealth of information which can be accessed in various forms: text, images, audio, and video. It is easy to ensure the sec...

A methodology for designing content based digital signatures which can be used to authenticate images is presented. A continuous measure of authenticity is presented which forms the basis of this methodology. Using this methodology signature systems can be designed which allow certain types of image modification (e.g. lossy compression) but which prevent other types of manipulation. Some experience with content based signatures is also presented. The idea of signature based authentication is extended to video, and a system to generate signatures for video sequences is presented. This signature also allows smaller segments of the secured video to be verified as unmanipulated. 1.0 Motivation Powerful, and easy to use image manipulation software has made it possible to alter digital images. It has been suggested that the authenticity of digital images can be preserved by having a camera "sign" the image using a digital signature. [1] However, applying a signature scheme directly to the ...