I’ve been playing around with Sega Dreamcast discs lately. Not playing the games on the DC discs, of course, just studying their structure. To review, the Sega Dreamcast game console used special optical discs named GD-ROMs, where the GD stands for “gigadisc”. They are capable of holding about 1 gigabyte of data.

You know what’s weird about these discs? Each one manages to actually store a gigabyte of data. Each disc has a CD portion and a GD portion. The CD portion occupies the first 45000 sectors and can be read in any standard CD drive. This area is divided between a brief data track and a brief (usually) audio track.

The GD region starts at sector 45000. Sometimes, it’s just one humongous data track that consumes the entire GD region. More often, however, the data track is split between the first track and the last track in the region and there are 1 or more audio tracks in between. But the weird thing is, the GD region is always full. I made a study of it (click for a larger, interactive graph):

Some discs put special data or audio bonuses in the CD region for players to discover. But every disc manages to fill out the GD region. I checked up on a lot of those audio tracks that divide the GD data and they’re legitimate music tracks. So what’s the motivation? Why would the data track be split in 2 pieces like that?

I eventually realized that I probably answered this question in this blog post from 4 years ago. The read speed from the outside of an optical disc is higher than the inside of the same disc. When I inspect the outer data tracks of some of these discs, sure enough, there seem to be timing-sensitive multimedia FMV files living on the outer stretches.

One day, I’ll write a utility to take apart the split ISO-9660 filesystem offset from a weird sector.

Nope! I’m never going to let go of the Sega Dreamcast hacking. When I was playing around with Dreamcast hacking early last year, I became aware that there is such a thing as an SD card adapter for the DC that plugs into the port normally reserved for the odd DC link cable. Of course I wanted to see what I could do with it.

The primary software that leverages the DC SD adapter is called DreamShell. Working with this adapter and the software requires some skill and guesswork. Searching for these topics tends to turn up results from various forums where people are trying to cargo-cult their way to solutions. I have a strange feeling that this post might become the unofficial English-language documentation on the matter.

Use Cases
What can you do with this thing? Undoubtedly, the primary use is for backing up (ripping) the contents of GD-ROMs (the custom optical format used for the DC) and playing those backed up (ripped) copies. Presumably, users of this device leverage the latter use case more than the former, i.e., download ripped games, load them on the SD card, and launch them using DreamShell.

However, there are other uses such as multimedia playback, system exploration, BIOS reprogramming, high-level programming, and probably a few other things I haven’t figured out yet.

Delivery
I put in an order via the dc-sd.com website and in about 2 short months, the item arrived from China. This marked my third lifetime delivery from China and curiously, all 3 of the shipments have pertained to the Sega Dreamcast.

Click for larger image

I thought it was very interesting that this adapter came in such complete packaging. The text is all in Chinese, though the back states “Windows 98 / ME / 2000 / XP, Mac OS 9.1, LINUX2.4”. That’s what tipped me off that they must have just cannibalized some old USB SD card readers and packaging in order to create these. Closer inspection of the internals through the translucent pink case confirms this.

Usage
According to its change log, DreamShell has been around for a long time with version 1.0.0 released in February of 2004. The current version is 4.0.0 RC3. There are several downloads available:

1. DreamShell 4.0 RC 3 CDI Image
2. DreamShell 4.0 RC 3 + Boot Loader
3. DreamShell 4.0 RC 3 + Core CDI image

Option #2 worked for me. It contains a CDI disc image and the DreamShell files in a directory named DS/.

Burn the CDI to a CD-R in the normal way you would burn a bootable Dreamcast disc from a CDI image. This is open-ended and left as an exercise to the reader, since there are many procedures depending on platform. On Linux, I used a small script I found once called burncdi-dc.sh.

Then, copy the contents of the DS/ folder to an SD card. As for filesystem, FAT16 and FAT32 are both known to work. The files in DS/ should land in the root of the SD card; the folder DS/ should not be in the root.

Plug the SD card into the DC SD adapter and plug the adapter in the link cable port on the back of the Dreamcast. Then, boot the disc. If it works, you will see this minor corruption of the usual Sega licensing screen:

Then, there will be a brief white-on-black text screen that explains the booting process:
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I recently sent a few old machines off for recycling. Both had relevance to the early days of the FATE testing effort. As is my custom, I photographed them (poorly, of course).

First, there’s the PowerPC-based Mac Mini I procured thanks to a Craigslist ad in late 2006. I had plans to develop automated FFmpeg building and testing and was already looking ahead toward testing multiple CPU architectures. Again, this was 2006 and PowerPC wasn’t completely on the outs yet– although Apple’s MacTel transition was in full swing, the entire new generation of video game consoles was based on PowerPC.

Click for larger image

I remember trying to find a Mac Mini PPC on Craigslist. Many were to be found, but all asked more than the price of even a new Mac Mini Intel, always because the seller was leaving all of last year’s applications and perhaps including a monitor, neither of which I needed. Fortunately, I found this bare Mac Mini. Also fortunate was the fact that it was far easier to install Linux on it than the first PowerPC machine I owned.

After FATE operation transitioned away from me, I still kept the machine in service as an edge server and automated backup machine. That is, until the hard drive failed on reboot one day. Thus, when it was finally time to recycle the computer, I felt it necessary to disassemble the machine and remove the hard drive for possible salvage and then for destruction.
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I want to examine how multimedia fiefdoms have risen and fallen through the years.

Back in the day, the multimedia fiefdoms were built around the formats put forth by competing companies: there was Microsoft/WMV, Apple/MOV, and Real/RM as the big contenders. On2 always wanted to be a player in this arena but could never quite catch a break. A few brave contenders held the line for open source and also for the power users who desired one application that could handle everything (my original motivation for wanting to get into multimedia hacking).

The computer desktop was the battleground for internet-based media stream. Whatever happened to those days? Actually, if memory serves, Flash-based video streaming stepped on all of them.

Over the last 6-7 years, the battleground has expanded to cover mobile devices, where Flash’s impact has… lessened. During this time, multimedia technology pretty well standardized on a particular stack, namely, the MPEG (MP4/H.264/AAC) stack.

The belligerents in this war tried for years to effectively penetrate new territory, namely, the living room where the television lived. This had been slowgoing for years due to various user interface and content issues, but steadily improved.

Last April, Amazon announced their entry into the set-top box market with the Fire TV. That was when it suddenly crystallized for me that the multimedia ecosystem has radically shifted. Now, the multimedia fiefdoms revolve around access to content via streaming services.

Off the top of my head, here are some of the fiefdoms these days (fiefdoms I have experience using):

• Netflix (subscription streaming)
• Amazon (subscription, rental, and purchased streaming)
• Hulu Plus (subscription streaming)
• Apple (rental and purchased media)

I checked some results on Can I Stream.It? (which I refer to often) and found a bunch more streaming fiefdoms such as Google (both Play and YouTube, which are separate services), Sony, Xbox 360, Crackle, Redbox Instant, Vudu, Target Ticket, Epix, Sony, SnagFilms, and XFINITY StreamPix. And surely, these are probably just services available in the United States; I know other geographical regions have their own fiefdoms.

What happened?

When I got into multimedia hacking, there were all these disparate, competing ecosystems. As a consumer, I didn’t care where the media came from, I just wanted to play it. That’s what inspired me to work on open source multimedia projects. Now I realize that I have the same problem 10-15 years later: there are multiple competing ecosystems. I might subscribe to fiefdoms X and Y, but am frustrated to learn that something I’d like to watch is only available through fiefdom Z. Very few of these fiefdoms can be penetrated using open source technology.

I’m not really sure about the point about this whole post. Multimedia technology seems really standardized these days. But that’s probably just my perspective because I have spent way too long focusing on a few areas of multimedia technology such as audio and video coding. It’s interesting that all these services probably leverage the same limited number of codecs. Their differentiation comes from the catalog of content that each is able to license for streaming. There are different problems to solve in the multimedia arena now.