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RIST and SRT: What's the difference?
Kieran Kunhya and Ciro Noronha from RIST Forum explain why the differences between the two formats matter to broadcasters and solutions providers
Published: June 12, 2020 ⋅ Updated: June 16, 2020
As more broadcasters are looking to use the internet and the Cloud to contribute and distribute live video, transport protocols such as RIST and SRT are becoming increasingly important. However, at the same time, there is growing confusion surrounding them, with many believing the different protocols to be essentially the same. This makes it difficult for broadcasters to determine what they need and often leads them to making the wrong choice. So, what is the difference and when and why does it matter?
RIST and SRT
Both Secure Reliable Transport (SRT) and Reliable Internet Stream Transport (RIST) have been developed to enable live low-latency video contribution over the public internet.
SRT was originally developed and pioneered by Haivision for use in its own encoder/decoder products. In 2017 it became an open source protocol and technology stack for the delivery of live video. RIST development started in 2017 in the context of the Video Services Forum at the request of the broadcast industry. The industry felt the need for a unified and interoperable protocol that was better suited for the professional industry. The primary driver for RIST development was the fact that there were multiple solutions in the market that worked well but did not interoperate.
Fundamental Differences
SRT was developed by a single company based on an old file transfer protocol, UDT. Its main advertised goal was, and still is, to replace RTMP. RIST, on the other hand was developed by a group of experts from multiple competing companies, all with a strong background and extensive experience in solutions for video delivery. One of the first actions of the RIST Activity Group was to evaluate SRT – but, after this vetting, the group concluded that SRT was not adequate to ensure the high quality needed by the broadcast industry. RIST, on the other hand, is based on a well known suite of streaming protocols already adopted by the broadcast industries: RTP and SMPTE-2022 (Transport Stream over IP), as well as a number of relevant RFCs (internet standards). The result is that RIST is simpler to implement and is much better suited for performance and transfer of high-quality video.
RIST implementations are fully interoperable. Unlike SRT and proprietary solutions, RIST is totally vendor-agnostic. Technically speaking, it is a set of guidelines based around other well-known standards, detailing how to apply them in a broadcast setting. This means that vendors can still be innovative and differentiate their solutions when they implement RIST whilst safe in the knowledge that it will work with other solutions, no matter what technology those are using.
The other fundamental difference comes down to security. There are two aspects to security: encryption and authentication. RIST and SRT offer the same level of encryption, but have different approaches to authentication. SRT only uses pre-shared keys, which gives some level of security but not the level required by most broadcasters streaming high value content. RIST offers a pre-shared key mode, which can be augmented with the Secure Remote Password protocol for additional protection. RIST also offers a DTLS mode, with certificate-based authentication – this is the same technology today used by banks and other secure web sites. It ensures that only the people entitled to view your content can access it, a fundamental necessity for the majority of broadcasters.
Other Key Comparisons
There are a number of other key differences between the two protocols. RIST enables point-to-multipoint and IP multicast, making it easy for broadcasters to efficiently deliver transmissions to multiple places using the same link. RIST also supports multi-link operation, both in bonding mode and in seamless switching mode. Bonding allows the user to combine multiple links in parallel to deliver the content. Seamless switching allows the user to send two or more simultaneous copies of the stream over redundant links, so that if a link goes down, there is no hit to the content. In all cases, the RIST receiver combines the multiple flows back into one stream, removing the duplicates as needed. The ability to use redundant links is crucial for broadcasters who require an extra level of reliability. These features are missing from the production SRT 1.4, but a subset is planned for a future release.
The way in which error recovery is handled is also different. SRT tries to optimise and reduce the recovery time by retransmitting lost packets as fast as possible. In bandwidth-constrained links, this can cause further packet losses, and the link will basically grind to a halt. RIST, on the other hand, is capable of optionally throttling retransmissions, so this instability is avoided. This allows RIST implementations to work well in the more challenging environments where SRT fails.
RIST or SRT?
SRT is often seen as the front runner in video transport because it came to market first and has a large membership. However, it is primarily targeted at prosumer video delivery, aiming to replace the ageing RTMP protocol. In that segment, it does a great job of delivering live video with reasonable quality and security that is good enough. For broadcast, it simply does not have what it takes to give broadcasters the confidence to switch to IP workflows over the internet for their valuable content. RIST was built and designed for broadcasters by experts in the broadcast industry.
As broadcasters continue to look for new and cost-efficient ways to contribute live video, there will be a growing demand for unmanaged IP. RIST is currently the best way broadcasters can ensure that video content is delivered reliably and securely over the Internet.
Tags ⋅ formats ⋅ RIST ⋅ RIST Forum ⋅ SRT ⋅ transport streams
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Profit Players: Jorginho starting to write new memories at Chelsea after difficult first year
By Kyle Archer
This article forms part of our Profit Players feature series, which is where Football Transfer Tavern takes a look at how well a player has fared since being signed or sold, using statistical figures and statements from pundits to prove how good of a deal the club managed to achieve.
With Maurizio Sarri's arrival from SSC Napoli last year, Chelsea were quick to return to the Serie A side looking to snap up one of the San Paolo natives' top talents and soon brought Manchester City target Jorginho to Stamford Bridge.
Chelsea director Marina Granovskaia hailed £50m (via Goal) Jorginho as "one of the most coveted midfielders in Europe" when announcing his arrival, having beaten Manchester City to the punch after the Etihad Stadium outfit thought they had his services locked down after being reassured by the midfielder's agent that the move was on the cards.
Pep Guardiola's Citizens were left unimpressed by news of his arrival in West London, but a year on it was onlookers who had been left unimpressed, with questions raised over whether or not Jorginho was a misunderstood genius or simply not cut out for the Premier League.
Questions were asked of Jorginho's worth to Chelsea at the end of his first year in England, as the Brazil-born ace ended his maiden campaign with 3,118 passes to his name (WhoScored) but no assists to show for any of them, as his long balls often failed to hold the same clinical direction as his others.
The Italian was not a long-range goal monster, either, with the 27-year-old unleashing just 19 shots all season in the Premier League – two of which found the back of the net. (Premier League)
Was that the role Sarri wanted Jorginho to play, though? Most certainly not. He wanted his former Napoli star to be the pacesetter of his regeneration of the Stamford Bridge natives, and dictate proceedings from the centre of the field which meant N'Golo Kante had to be moved into a wider role.
Gary Lineker was dismayed by the suggestion that Kante could not do the role with which Jorginho was tasked when Sarri hinted as much in January, but opinions are starting to change of the Italian midfielder now that Frank Lampard is in charge at his former stomping ground.
Jorginho is still serving as a deep-lying playmaker in the centre of the field, and has impressed many by emerging as one of the best defensive midfielders in the Premier League, ahead of Liverpool's Fabinho and Man City's Rodri on several metrics.
The Blues ace has won more tackles than his counterparts at Anfield and the Etihad Stadium, averaged a higher success rate with his attempts, and penned vastly more interceptions, recoveries and accurate final third passes.
Many Chelsea supporters have taken to Twitter to suggest he would be a worthwhile future captain should Lampard look to take the armband away from Cesar Azpilicueta, too, as Jorginho is now offering leadership to his teammates as he continues to paint a better image of himself and write favourable memories at Stamford Bridge.
Lampard is clearly a fan of the Italian, as well, as he named the 27-year-old as one of his designated penalty takers after Jorginho fired home from the spot against Brighton & Hove Albion, and told talkSPORT: "Jorginho's very confident and we made the decision he is the penalty taker. He wasn't on the pitch the other day and hence Pedro takes them.
"I don't mind in having different penalty takers, but when Jorginho's on the pitch, he can take them and if he takes them like today, he can keep going."
Jorginho's worth to Chelsea is not only growing on the pitch but also in his market value, as he has seen his TransferMarkt valuation rise from £45m at the time of the Blues' costly capture to £58m – a figure that should only increase the more he influences proceedings and certainly if he is handed the armband.
Chelsea fans, should Lampard name Jorginho your captain over Azpilicueta? Let us know in the comments below…
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Article title: Profit Players: Jorginho starting to write new memories at Chelsea after difficult first year

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Trinetra Wireless, a leading provider in GPS Vehicle Tracking and Fleet management solutions takes immense pleasure in co-sponsoring the Six Sigma Event, organized by Young Indians (Yi) in association with Confederation of Indian Industry (CII).
The event was intimately put across by Dr. Pawan Agarwal who has completed his doctorate in Dabbawala and incorporated new ideas in developing the code system for dabbas. Presentation was organized with different sessions including code system evolution, wartime, and flow logic. Mumbai Dabbawalas are engaged in the collection of lunch boxes from two-lakh households from across the city for delivery at the work spot and again return back to the households. They do not employ any sophisticated technology for tracking the movement of the lunch boxes and do not use any motor vehicle for transport.
Importance of co-sponsoring and supporting such events across the globe is going to be a regular feature of Trinetra's business strategy to promote its product and network with the industry's key people. This sponsorship opportunity provided a great platform to re-emphasize Trinetra's competitive edge by enhancing the brand image, prestige and credibility. We are pleased with the response received and the event was remarkable one! Trinetra looks forward to organizing many more events.


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ARTHIST 2: Asian Arts and Cultures (JAPAN 60)
An exploration of the visual arts of East and South Asia from ancient to modern times, in their social, religious, literary and political contexts. Analysis of major monuments of painting, sculpture and architecture will be organized around themes that include ritual and funerary arts, Buddhist art and architecture across Asia, landscape and narrative painting, culture and authority in court arts, and urban arts in the early modern world.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II
ARTHIST 2 | 5 units | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II | Class # 19302 | Section 01 | Grading: Letter or Credit/No Credit | LEC | Students enrolled: 12
ARTHIST 2 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II | Class # 35025 | Section 02 | Grading: Letter or Credit/No Credit | DIS
01/06/2020 - 03/13/2020 Tue 3:00 PM - 4:20 PM at McMurtry Building rm 350
ARTHIST 3: Introduction to World Architecture (CLASSICS 54)
This course offers an expansive introduction to architecture and urban design from the earliest human constructions to the mid-20th century. The examples range from the Americas to Europe and the Middle East and Asia. The business of architecture, its structure and materials, are addressed in each case, because designs have to leave the paper to achieve a presence in the world, and an overriding concern is to understand architecture as a sensible manifestation of particular cultures, whether societies or individuals. To the same ends, student writing assignments will involve the analysis of local space, whether a room or a building, and then the built environment at large.
Instructors: Barry, F. (PI)
ARTHIST 3 | 5 units | UG Reqs: GER:DB-Hum, WAY-A-II | Class # 17641 | Section 01 | Grading: Letter (ABCD/NP) | LEC
03/30/2020 - 06/03/2020 Tue, Thu 10:30 AM - 11:50 AM at McMurtry Building 102, Oshman with Barry, F. (PI)
ARTHIST 100N: The Artist in Ancient Greek Society (CLASSICS 18N)
Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted more »
Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.n nSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).n nThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.
ARTHIST 100N | 3 units | UG Reqs: GER:DB-Hum, WAY-A-II | Class # 17711 | Section 01 | Grading: Letter (ABCD/NP) | ISF
03/30/2020 - 06/03/2020 Mon, Wed 9:30 AM - 11:20 AM at McMurtry Building rm 370 with Maxmin, J. (PI)
ARTHIST 101: Introduction to Greek Art I: The Archaic Period (CLASSICS 161)
This lecture course explores Greek art and culture from 1000-480. In the beginning archaic art forms are more abstract than life-like, closer to Calder than Michelangelo. While Homer describes the rippling muscles (and egos) of his heroes, vase-painters and sculptors prefer abstraction. This changes in the 7th C. as a result of commerce with the Near East and Egypt. Imported Near Eastern bronzes and ivories awaken the Greeks to a wider range of subjects, techniques and ambitions. Later in the century, Greeks in Egypt learn to carve hard stone from Egyptian masters. Throughout the 6th C. Greek artists assimilate what they had borrowed, compete with one another, defy their teachers, test the tolerance of the gods and eventually produce works of art that speak with a Greek accent. When the Persians invade the Acropolis in 480, they find artifacts with little trace of alien influence or imprint - omens of the defiant Greek military that would prevail at Salamis and Plataea.
ARTHIST 101 | 4 units | UG Reqs: GER:DB-Hum, WAY-A-II | Class # 17429 | Section 01 | Grading: Letter (ABCD/NP) | LEC | Students enrolled: 12 / 17
09/23/2019 - 12/06/2019 Mon, Wed, Fri 9:30 AM - 10:50 AM at McMurtry Building rm 360 with Maxmin, J. (PI)
ARTHIST 102: Introduction to Greek Art II: The Classical Period (CLASSICS 162)
The class begins with the art, architecture and political ideals of Periclean Athens, from the emergence of the city as the political and cultural center of Greece in 450 to its defeat in the Peloponnesian War in 404. It then considers how Athens and the rest of Greece proceed in the fourth century to rebuild their lives and the monuments that define them. Earlier artistic traditions endure, with subtle changes, in the work of sculptors such as Kephisodotos. Less subtle are the outlook and output of his son Praxiteles. In collaboration with Phryne, his muse and mistress, Praxiteles challenged the canons and constraints of the past with the first female nude in the history of Greek sculpture. His gender-bending depictions of gods and men were equally audacious, their shiny surfaces reflecting Plato¿s discussion of Eros and androgyny. Scopas was also a man of his time but pursued different interests. Drawn to the inner lives of men and woman, his tormented Trojan War heroes and victims a more »
The class begins with the art, architecture and political ideals of Periclean Athens, from the emergence of the city as the political and cultural center of Greece in 450 to its defeat in the Peloponnesian War in 404. It then considers how Athens and the rest of Greece proceed in the fourth century to rebuild their lives and the monuments that define them. Earlier artistic traditions endure, with subtle changes, in the work of sculptors such as Kephisodotos. Less subtle are the outlook and output of his son Praxiteles. In collaboration with Phryne, his muse and mistress, Praxiteles challenged the canons and constraints of the past with the first female nude in the history of Greek sculpture. His gender-bending depictions of gods and men were equally audacious, their shiny surfaces reflecting Plato¿s discussion of Eros and androgyny. Scopas was also a man of his time but pursued different interests. Drawn to the inner lives of men and woman, his tormented Trojan War heroes and victims are still scarred by memories of the Peloponnesian War, and a world away from the serene faces of the Parthenon. His famous Maenad, a devotee of Dionysos who has left this world for another, belongs to the same years as Euripides' Bacchae and, at the same time, anticipates the torsion and turbulence of Bernini and the Italian Baroque. In the work of these and other fourth century personalities, the stage is set for Alexander the Great and his conquest of a kingdom extending from Greece to the Indus River. (Formerly CLASSART 102)
ARTHIST 102 | 4 units | UG Reqs: GER:DB-Hum, WAY-A-II | Class # 17578 | Section 01 | Grading: Letter (ABCD/NP) | LEC | Students enrolled: 9
ARTHIST 105: Art & Architecture in the Medieval Mediterranean (ARTHIST 305, CLASSICS 172)
Chronological survey of Byzantine, Islamic, and Western Medieval art and architecture from the early Christian period to the Gothic age. Broad art-historical developments and more detailed examinations of individual monuments and works of art. Topics include devotional art, court and monastic culture, relics and the cult of saints, pilgrimage and crusades, and the rise of cities and cathedrals.
ARTHIST 105B: Medieval Journeys: Introduction through the Art and Architecture (ARTHIST 305B, DLCL 123)
ARTHIST 105B | 5 units | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-CE, WAY-ED | Class # 19530 | Section 01 | Grading: Letter or Credit/No Credit | LEC
ARTHIST 106: Byzantine Art and Architecture, 300-1453 C.E. (ARTHIST 306, CLASSICS 171)
(Formerly CLASSART 106/206.) This course explores the art and architecture of the Eastern Mediterranean: Constantinople, Jerusalem, Alexandria, Antioch, Damascus, Thessaloniki, and Palermo, 4th-15th centuries. Applying an innovative approach, we will probe questions of phenomenology and aesthetics, focusing our discussion on the performance and appearance of spaces and objects in the changing diurnal light, in the glitter of mosaics and in the mirror reflection and translucency of marble.
Last offered: Spring 2016 | UG Reqs: GER:DB-Hum, WAY-A-II
ARTHIST 108: Virginity and Power: Mary in the Middle Ages (ARTHIST 308)
The most influential female figure in Christianity whose state cult was connected with the idea of empire. The production and control of images and relics of the Virgin and the development of urban processions and court ceremonies though which political power was legitimized in papal Rome, Byzantium, Carolingian and Ottonian Germany, Tuscany, Gothic France, and Russia.
ARTHIST 109: The Book in the Medieval World (ARTHIST 309)
Studying the design and function of books in medieval society from the 7th to the 15th century, and the ways in which manuscripts are designed to meet (and shape) the cultural and intellectual demands of their readers. Major themes are the relationships between text and image, and between manuscripts and other media; the audience and production context of manuscripts; and changing ideas about pictorial space, figural style, page design, and progression through the book. Final project may be either a research paper or an original artist's book.


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New #DisinfoReview from the EU East StratCom Task Force
*TRENDS OF THE WEEK*
Artificial Ventilation of MH17 Lies
What do you do when your disinformation campaign is running both out of time and oxygen?
You start artificial respiration.
As we head toward the trial of four suspects for downing MH17 and murdering all 298 people on board, set to start in March next year, there is increasingly less room for the Kremlin's disinformation campaign to mislead audiences about Russia's responsibility for the tragedy.
Yet we can see that pro-Kremlin actors are persistently trying to use every opportunity to keep disinformation high on the agenda, promoting its lies with the help of social media channels.
The latest round of disinformation, after the Dutch-led international investigation team announced that the suspects will be prosecuted, has focused on recycling old claims how "all the evidence points to Russia's non-involvement", about the "information dumps designed" to accuse Russia, and that the missile could have been fired only from an area controlled by Ukraine. All these disinformation messages were already debunked four years ago – see the respective links.
Disinformation agenda on social media
Artificially boosted or not, pro-Kremlin sources seem to be successful in their disinformation promotion task. Let's take a step back and see how they have performed during the past year.
Data from Buzzsumo shows that, altogether, 12,759 articles on MH17 were publicly posted on social media between June 2018 and June 2019, gathering 1.6 million engagements on Facebook, Twitter and Reddit.
Of the top 30 most engaging domains covering MH17 over the given period, five pro-Kremlin disinformation outlets appear on the list: RT in English, Russian and German, news agency RIA Novosti, and Sputnik in English.
Russia Today (RT.com) is the fifth most engaging outlet on social media (to compare: BBC is the second, The Daily Beast is the first).
Next target: Georgia
Keep your oxygen mask on – there was also another disinformation frontline opened this week. The protests in Georgia against a Russian MP who took the Georgian Parliament Speaker's seat during an annual meeting of the Inter-parliamentary Assembly on Orthodoxy triggered an angry reaction from the Kremlin, coupled with an aggressive disinformation campaign.
It reactivated some of the most repeated messages targeting Georgia and its European integration, aiming to silence any kind of criticism towards Russia, which occupies one fifth of the country's territory after the 2008 war: it brought back the false claims of Georgian snipers behind Maidan and "forces" conspiring both in Ukraine and Georgia to organise colour revolutions, Soros as an "anti-Christ" bringing chaos to the post-Soviet space, conspiracies of the CIA aggressively promoting gay pride to take over Georgian resources, and the US preparing a "massive group of protesters" to capture the Georgian state.
Now, take a deep breath of fresh air and have a look at all the disinformation cases exposed this week, going beyond targeting the MH17 and Georgia. We offer only one spoiler: No, Sweden is not teaching immigrants to have sex with Swedish women.
Click here for the FULL COLLECTION of recent stories repeating disinformation.
*LATEST ANALYSES*
Figure of the Week: 11 120 000
Margarita Simonyan, RT's editor-in-chief, announced on Twitter that the Spanish RT website received 11 120 000 unique visitors in May. But what are the 11 120 000 people reading on actualidad.rt.com? The EUvsDisinfo database has some rather intriguing answers.
The Strange Similarities in Narratives in the Cases of Strache and Skripal
As a month has passed since the beginning of the scandal involving former vice-chancellor of Austria Heinz-Christian Strache, it's time to have a look at the narratives used by pro-Kremlin outlets to describe the events.
Pro-Kremlin News Front Praising Hitler
News Front, a pro-Kremlin site, based on Crimea, is praising Adolf Hitler, questioning the holocaust and expressing sympathy with Nazi attacks on the LGBTQ community in Germany in the 30s.
*LAST, BUT NOT LEAST*
"Trolls in Your Feed"
"Trolls in Your Feed" is the name of a digital educational publication from the Danish Institute for International Studies. The publication is designed to target Danish high school students and is funded by Denmark's Ministry of Foreign Affairs.
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Every Thursday, the Disinformation Review brings you the latest cases of news articles carrying key examples of how pro-Kremlin disinformation finds its way in international media, as well as news and analysis on the topic. The review focuses on key messages carried in international media which have been identified as providing a partial, distorted or false view or interpretation and/or spreading key pro-Kremlin messaging. It does not necessarily imply however that the outlet concerned is linked to the Kremlin or that it is pro-Kremlin, or that it has intentionally sought to disinform. The Review is a compilation of cases from the East Stratcom Task Force's wide network of contributors and therefore cannot be considered an official EU position. Likewise, the news articles are based on the analysis of the East Stratcom Task Force, so information and opinions expressed there cannot be considered an official EU position. Any errors or misrepresentations should be reported to the East Stratcom Task Force for correction at disinforeview@euvsdisinfo.eu.
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