DigitalVideoAndHDTVAlgorithmsAndInterfaces.pdf

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Introduction to video compression 14 Directly storing or transmitting Y’C B C R digital video requires immense data capacity – about 20 megabytes per second for SDTV, or about 120 megabytes per second for HDTV. First-generation studio digital VTRs, and today’s highest-quality studio VTRs, store uncompressed video; however, economical storage or transmission requires compression. This chapter introduces the JPEG, M-JPEG, and MPEG compression techniques. Data compression Data compression reduces the number of bits required to store or convey text, numeric, binary, image, sound, or other data, by exploiting statistical properties of the data. The reduction comes at the expense of some computational effort to compress and decompress. Data compression is, by definition, lossless: Decompression recovers exactly, bit for bit (or byte for byte), the data that was presented to the compressor. Binary data typical of general computer applications often has patterns of repeating byte strings and substrings. Most data compression techniques, including run-length encoding (RLE) and Lempel-Ziv- Welch (LZW), accomplish compression by taking advantage of repeated substrings; performance is highly dependent upon the data being compressed. Image compression Image data typically has strong vertical and horizontal correlations among pixels. When the RLE and LZW algorithms are applied to bilevel or pseudocolor image 117
data stored in scan-line order, horizontal correlation among pixels is exploited to some degree, and usually results in modest compression (perhaps 2:1). A data compression algorithm can be designed to exploit the statistics of image data, as opposed to arbitrary binary data; improved compression is then possible. For example, the ITU-T (former CCITT) fax standard for bilevel image data exploits vertical and horizontal correlation to achieve much higher average compression ratios than are possible with RLE or LZW. Transform techniques are effective for the compression of continuous-tone (grayscale or truecolor) image data. The discrete cosine transform (DCT) has been developed and optimized over the last few decades; it is now the method of choice for continuous-tone compression. Lossy compression Data compression is lossless, by definition: The decompression operation reproduces, bit-for-bit, the data presented to the compressor. In principle, lossless data compression could be optimized to achieve modest compression of continuous-tone (grayscale or truecolor) image data. However, the characteristics of human perception can be exploited to achieve dramatically higher compression ratios if the requirement of exact reconstruction is relaxed: Image or sound data can be subject to lossy compression, provided that the impairments introduced are not overly perceptible. Lossy compression schemes are not appropriate for bilevel or pseudocolor images, but they are very effective for grayscale or truecolor images. JPEG refers to a lossy compression method for still images. Its variant M-JPEG is used for motion sequences; DVC equipment uses an M-JPEG algorithm. MPEG refers to a lossy compression standard for video sequences; MPEG-2 is used in digital television distribution (e.g., ATSC and DVB), and in DVD. I will describe these techniques in subsequent sections. Table 14.1 at the top of the facing page compares typical compression ratios of M-JPEG and MPEG-2, for SDTV and HDTV. 118 DIGITAL VIDEO AND HDTV ALGORITHMS AND INTERFACES
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Digital Video and HDTV Algorithms a
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Publishing Director: Diane Cerra Pu
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Digital Video and HDTV Algorithms a
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Raster images 1 This chapter introd
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4:3 16:9 Figure 1.3 Pan-and-scan cr
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Figure 1.7 Pixel arrays of several
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SDTV 1’ ( 1⁄60°) d= 1⁄480 SD
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See Appendix B, Introduction to rad
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4095 101 100 0 ∆ = 1% 40.95 : 1 F
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See Bit depth requirements, on page
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Resolution properly refers to spati
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The oct in octave refers to the eig
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Sound pressure level, relative 1 0
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Figure 2.4 Footroom and headroom ar
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Figure 3.1 Contrast control determi
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SMPTE RP 71, Setting Chromaticity a
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Figure 3.7 Brightness control in Ph
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Raster images in computing 4 This c
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Symbolic image description Many met
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Grayscale A grayscale image represe
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Poynton, Charles, “The rehabilita
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The browser-safe palette forms a ra
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Image width is the product of socal
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Don’t confuse PSF with progressiv
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Figure 5.3 Diagonal line reconstruc
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Figure 5.7 Bitmapped graphic image,
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Figure 5.8 Gaussian spot size. Soli
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Flicker is sometimes redundantly ca
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The word raster is derived from the
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Figure 6.3 Production aperture comp
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TEST SCENE SCANNING FIRST FIELD Ima
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Progressive Interlaced Image row 0
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FIRST FIELD SECOND FIELD Figure 6.1
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Table 6.3 Video systems are classif
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An electrical engineer may call thi
Page 74 and 75: When digital information is process
Page 76 and 77: Resolution properly refers to spati
Page 78 and 79: Figure 7.6 Vertical resolution in 4
Page 80 and 81: Pixel count places a constraint on
Page 82 and 83: The term luminance is widely misuse
Page 84 and 85: Figure 8.4 Nonlinearly coded relati
Page 86 and 87: Tristimulus values are correctly re
Page 88 and 89: Giorgianni, Edward J., and T.E. Mad
Page 90 and 91: Simultaneous contrast ratio is the
Page 92 and 93: Imaging system Some people suggest
Page 94 and 95: Introduction to luma and chroma 10
Page 96 and 97: Luma and color differences can be c
Page 98 and 99: 4:2:0 This scheme is used in JPEG/J
Page 100 and 101: Figure 10.4 Interstitial chroma fil
Page 102 and 103: The notation CCIR is often wrongly
Page 104 and 105: Square sampling Component 4:2:2 Rec
Page 106 and 107: Component 4:2:2 Rec. 601-5 The tech
Page 108 and 109: See Table 13.1, on page 114, and th
Page 110 and 111: NTSC stands for National Television
Page 112 and 113: NTSC and PAL encoding NTSC or PAL e
Page 114 and 115: Figure 12.2 S-video interface invol
Page 116: Concerning the absence of D-4 in th
Page 119 and 120: Figure 13.1 Comparison of aspect ra
Page 121 and 122: ATSC A/53, Digital Television Stand
Page 123: System Scanning SMPTE standard STL
Page 127 and 128: Compression ratio Quality/applicati
Page 129 and 130: Figure 14.2 MPEG group of pictures
Page 131 and 132: Figure 14.6 Example GOP I0B1B2P3B4B
Page 133 and 134: Many MPEG terms - such as frame, pi
Page 135 and 136: Voltage, mV 700 350 0 -300 Code, 8-
Page 137 and 138: SMPTE 259M, 10-Bit 4:2:2 Component
Page 139 and 140: Voltage, mV 700 350 SMPTE 305.2M, S
Page 141 and 142: IEC 61883-1, Consumer audio/video e
Page 143 and 144: For details concerning SCH, see pag
Page 145 and 146: Some video switchers incorporate di
Page 148 and 149: My explanation describes the origin
Page 150 and 151: Figure 16.2 Cosine waves at exactly
Page 152 and 153: 1 1+ sin 0.75 ωt 2 0.5 Figure 16.6
Page 154 and 155: 0 1 2 3 1.0 0.8 0.6 0.4 0.2 0 Time,
Page 156 and 157: -5 -4 -3 -2 1.0 0.8 0.6 0.4 0.2 -1
Page 158 and 159: Impulse (point sampling) 0 1 t 0 2
Page 160 and 161: Figure 16.12 [1, 1] FIR filter sums
Page 162 and 163: Figure 16.17 5-tap FIR filter respo
Page 164 and 165: Figure 16.20 Comb filter response r
Page 166 and 167: 125 ns, 45° at 1 MHz 125 ns, 90°
Page 168 and 169: Compensation of undesired phase res
Page 170 and 171: ωS 2 ⎛ 1 ⎞ Eq 16.3 Ne ≈ ⋅
Page 172 and 173: We could use the term weighting, bu
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Figure 16.26 FIR filter example, 25
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1 1+ sin 0.44 ωt 2 0.5 Figure 16.2
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Resampling, interpolation, and deci
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Figure 17.1 Two-times upsampling st
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Figure 17.4 Analog filter for direc
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Julius O. Smith calls this Waring-
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Smith, A.R., “Planar 2-pass textu
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You can consider the entire stopban
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1 1 1 512 2 2 8 = · In a direct im
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Taken literally, decimation involve
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0 Horizontal displacement (fraction
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Figure 18.7 Spatial frequency spect
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Schreiber, William F., and Donald E
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Oversampling to double the number o
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10 k 1 k 100 10 1 100 m 10 m 100 1
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Viewing environment Max. luminance,
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ISO 5-1, Photography - Density meas
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Campbell, F.W., and V.G. Robson,
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See Introduction to radiometry and
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Figure 20.2 Luminance and lightness
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Figure 21.1 Example coordinate syst
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Power, relative 400 500 600 700 Wav
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B G 400 500 600 700 400 500 600 700
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The term sharpening is used in the
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Grassmann’s Third Law: Sources of
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1 y = 1- x 1 Spectral locus Line of
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Figure 21.9 SPDs of blackbody radia
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Tungsten illumination can’t have
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∆E* is pronounced DELTA E-star. i
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McCamy argues that under normal con
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Wyszecki, Günter, and W.S. Styles,
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If you are unfamiliar with the term
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CIE standards established in 1964 w
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Table 22.2 NTSC primaries (obsolete
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IEC FDIS 61966-2-1, Multimedia syst
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Michael Brill and R.W.G. Hunt argue
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CMF of X sensor CMF of Y sensor CMF
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CMF of Red sensor CMF of Green sens
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Spectral sensitivity of Red sensor
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For the D 65 reference now standard
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Eq 22.10 RGB components where one o
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Poynton, Charles, “Wide Gamut Dev
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Opto-electronic transfer function (
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Roberts, Alan, “Measurement of di
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The importance of rendering intent,
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See Headroom and footroom, on page
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Eq 23.7 Video signal, V’ 1.2 1.0
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Figure 23.5 Rec. 709, sRGB, and CIE
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PDP and DLP devices are commonly de
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Concerning the conversion between R
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Video, PC TRISTIM. Computergenerate
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An SGI workstation can be set to ha
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The Rec. 709 function is suitable f
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What are loosely called JPEG files
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+1 G AXIS 0 G Bk 0 255 G’ COMPONE
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Here the term color difference refe
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Figure 24.3 shows a time delay elem
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See Appendix A, YUV and luminance c
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Nonlinear red, green, blue (R’G
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The mismatch between the primaries
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XYZ or R 1G 1B 1 TRISTIMULUS 3×3 (
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Owing to the dependence of the opti
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Luma/color difference component set
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System Notation Color difference sc
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For a discussion of primary chromat
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Figure 25.2 P BP R components for S
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The Y’P B P R and Y’C B C R sca
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Eq 25.6 Eq 25.7 You can determine t
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+128 +127 0 -128 (clipped) 0 Figure
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When the term Y’UV (or YUV) is en
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Yl G G Figure 26.1 B’-Y’, R’-
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Figure 26.3 CBCR compo- +112 nents
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Concerning Pointer, see the margina
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Equations 26.12 and 26.13 are writt
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100% 90% 50% 10% 0% 0 1 2 3 4 5 Y
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Active lines (vertically) encompass
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Back porch is described in Analog h
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255 Full-range code, computing 0 -1
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danger in using such operations: Up
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If you use CTI, you run the risk of
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See Appendix A, YUV and luminance c
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Eq 28.3 Eq 28.4 Eq 28.5 Eq 28.6 1
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It is unfortunate that the formulat
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COMPOSITE NTSC VIDEO Y’/C SEPARAT
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COMPOSITE PAL VIDEO Y’/C SEPARATO
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COMPOSITE VIDEO or S-video LUMA COM
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COMPOSITE NTSC VIDEO Saturation Hue
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Y’ C f SC Figure 29.1 Y’/C spec
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1 2 ... 262 263 Figure 29.4 Color s
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Figure 29.7 Dot crawl is exhibited
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1 2 3 4 ... Figure 29.9 Color subca
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COMPOSITE PAL VIDEO Y’/C SEPARATO
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t Opposite field Y’+C t+1⁄59.94
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CHROMA FILTER RESPONSE CHROMA (C) S
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CHROMA (C) SPECTRAL POWER LUMA (Y
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Because an analog demodulator canno
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Y’ I Q 1.3 MHz 600 kHz SUBCARRIER
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A decoder cannot determine whether
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525 · 60 = 15750 2 Line rate The t
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60 1000 525× 2 1001 315 88 3 57954
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Sampling NTSC at 4f SC gives 910 sa
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60 Hz 7 · 5 · 5 · 3 525/60 (480
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3· 588· 25 Hz = 44100 Hz 3 490 30
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See Frame, field, line, and sample
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SMPTE 258M, Television - Transfer o
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The IRE unit is introduced on page
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SMPTE 12M, Time and Control Code. S
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The V and H bits are asserted durin
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* 1250/50 is an exception; see SMPT
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See NTSC two-frame sequence, on pag
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SMPTE 260M describes a scheme, now
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SMPTE 292M, Bit-Serial Digital Inte
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A Naive combined sync establishes h
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1 PRE- BROAD EQUALIZATION PULSES 0V
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Most lines have a single normalwidt
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1 23 4 5 6 7 Figure 34.6 Sync separ
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Figure 34.7 BNC connector Figure 34
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Figure 35.1 A videotape recorder (V
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In consumer VCR search mode playbac
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Heads for other longitudinal tracks
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The term sync in sync block is unre
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Notation Component analog VTRs are
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Even if playback errors are so seve
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Notation Method Tape width (track p
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D-7 (DVCPRO), DVCAM runs twice the
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D-12 (DVCPRO HD) The DV standard wa
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Figure 36.1 “2-3 pulldown” refe
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Film is transferred to 576i25 video
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FILM A A VIDEO, 2-3 PULLDOWN A VIDE
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Native 24 Hz coding Traditionally,
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Figure 37.1 Test scene FIRST FIELD
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For a modest improvement over 2-tap
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Figure 37.13 Interstitial spatial f
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IN Figure 37.17 Cosited spatial fil
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ISO/IEC 10918, Information Technolo
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Figure 38.2 DCT concentrates image
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Eq 38.1 Owing to the eight-line-hig
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In MPEG-2, DC terms can be coded wi
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Figure 38.8 Zigzag scanning is used
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Figure 38.12 Compression ratio cont
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Hamilton, Eric, JPEG File Interchan
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Concerning DVC recording, see page
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356 357 358 359 Figure 39.2 Chroma
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CMs in a segment are denoted a thro
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For a more elaborate description, a
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DV HD HD stands for high definition
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IEC 61904, Video recording - Helica
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MPEG-2 specifies several algorithmi
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422P@ML allows 608 lines at 25 Hz f
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Figure 40.1 MPEG-2 frame picture co
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If horizontal size or vertical size
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A prediction region in an anchor fr
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Each nonintra macroblock in an inte
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Figure 40.4 Frame DCT type involves
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Distributed refresh does not guaran
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Whether an encoder actually searche
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Figure 40.9 Buffer occupancy in MPE
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Group of pictures (GOP header) the
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Gibson, Jerry D., Toby Berger, Tom
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f FR f H 30 = ≈ 29. 97 Hz 1. 001
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Concerning closed captions, see ANS
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CHAPTER 41 480 i COMPONENT VIDEO 50
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SMPTE RP 187, Center, Aspect Ratio
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8-bit code 235 125 1 / 2 16 Figure
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Voltage, mV 700 350 0 -300 0 H EIA/
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480i NTSC composite video 42 Althou
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Concerning the association of U wit
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IEC 60933-5 (1992-11) Interconnecti
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8-bit code 200 176.25 70.5 60 4 757
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Derived line rate is 15.625 kHz. It
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For details concerning VITC in 576i
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CHAPTER 43 576 i COMPONENT VIDEO 52
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SMPTE RP 187, Center, Aspect Ratio
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Code 235 125 1 / 2 16 Figure 43.2 5
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1135 4 1 + = 625 709379 2500 = 283.
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See NTSC Y’IQ system, on page 365
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8-bit code 211 137.5 64 EBU Tech. 3
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ANSI/EIA-189-A, Encoded Color Bar S
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Figure 45.3 NTSC- Encoded 100/0/75/
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ITU-R Rec. BT.471, Nomenclature and
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Figure 45.7 Modulated 5-step stair
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( ) PULSE T The risetime, from 10%
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Figure 45.12 FCC composite test sig
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tri Trilevel pulse BR Broad pulse T
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550 DIGITAL VIDEO AND HDTV ALGORITH
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Component digital 4:2:2 interface Y
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Passband insertion gain, dB Stopban
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SMPTE 274M, 1920 × 1080 Scanning a
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tri Trilevel pulse BR Broad pulse L
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Trilevel sync comprises a negative
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Vertical interval video lines do no
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RGB primary components Picture info
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mV +700 +350 +300 0 -300 -44 +44 0H
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ITU-R Rec. BT.470, Conventional tel
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PAL-D is ambiguous, referring eithe
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Bower, A.J., NICAM 728 - Digital Tw
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SECAM had an advantage during the 1
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Consumer analog NTSC and PAL 49 Con
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Macrovision is a proprietary, paten
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CENELEC EN 50049-1:1989 IEC 60933-1
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VHS trick mode playback A VHS VCR h
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NHK Science and Technical Research
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I and Q refer to in-phase and quadr
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Weiss, S. Merrill, Issues in Advanc
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YUV and luminance considered harmfu
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Pritchard, D.H., “U.S. Color Tele
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When I say NTSC and PAL, I refer to
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ANSI/IESNA RP-16, Nomenclature and
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Palmer, James M., “Getting Intens
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Differentiate w.r.t. AREA power, P
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Ashdown, Ian, Radiosity: A Programm
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50 Hz. Each film frame is scanned t
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601 See Rec. 601, on page 643. 625/
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B-picture In MPEG, a bidirectionall
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BT.601, BT.709 See Rec. 601 and Rec
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CIE luminance, CIE Y See Luminance.
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information rate of the color diffe
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Contrast 1. Contrast ratio; see bel
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D-10 A SMPTE-standard component SDT
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Drive (n.) A periodic pulse signal
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2. In traditional video usage, the
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G/PAL See PAL-B/G/H, on page 640. (
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4. User-accessible means to adjust
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K-factor, K-rating A numerical char
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Luma A video signal representative
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2. In a camera or scanner, the cond
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Offset sampling Obsolete scanning t
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numerical parameter having a value
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Rendering intent Encoding and subse
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which is a function of the distribu
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Standards conversion Conversion, in
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transmission; or to color differenc
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Y’/C629, Y’/C688 Y’C 1 C 2 Y
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177 Mb/s 129-130 18 MHz sampling ra
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ambient illumination (cont’d) in
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inary group flags (in timecode) 386
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chroma (cont’d) modulation 94, 10
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color (cont’d) difference coding
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CRC (cyclic redundancy check) in HD
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Dolby 589 dominance, field 430 dot
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factor interlace 68, 70 K 542 Kell
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framebuffer 7 framestore 7 France 9
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hue (cont’d) hue decoder control
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ITU-T fax 7, 118 former CCITT 118 H
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longitudinal timecode 382, 384 Look
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N N/PAL 96, 575-576 N10 see also PA
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Panasonic 509-510 Paraguay 576 pari
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pulse (cont’d) colorframe 404 equ
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RMS (root mean square) 19, 146 Robe
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(sin x)/x 147, 149 (graph) also kno
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SVM (scan-velocity modulation) 330,
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uniformity, perceptual 21 in DCT/JP
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widescreen 4 HDTV 112 SDTV 99 480i
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This book is set in the Syntax type
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