DigitalVideoAndHDTVAlgorithmsAndInterfaces.pdf

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Native 24 Hz coding Traditionally, 2-3 pulldown is imposed in the studio, at the point of transfer from film to video. The repeated fields are redundant, and consume media capacity to no good effect except compatibility with native 60 fieldper-second equipment: When a movie is recorded on Laserdisc, or on VHS tape, fully 20% of the media capacity is wasted. In the studio, it is difficult to recover original film frames from a 2-3 sequence; information about the repeated fields is not directly available, and decoding equipment attempts to reconstruct the sequence by comparing pixel values in successive fields. MPEG-2 coding can handle coding of progressive material at 24 frames per second; it is inefficient to encode a sequence with 2-3 pulldown. Some MPEG-2 encoders are equipped to detect, and remove, 2-3 pulldown, to reconstruct 24 progressive frames per second to be coded. However, this process – called inverse telecine – is complex and trouble-prone. Ordinarily, repeated fields in 2-3 pulldown are omitted from an MPEG-2 bitstream. However, the bitstream can include flags that indicate to the decoder that these fields should be repeated; this allows the decoder to reconstruct the 2-3 sequence. If an image sequence is coded directly in 24 Hz progressive mode, a decoder used with 60 Hz interlace display can impose 2-3 pulldown during decompression; however, the same sequence can be decompressed for display at 72 Hz progressive by flashing each frame thrice. Conversion to other rates In 2-3 pulldown from 24 Hz to 60 Hz, information from successive film frames is replicated in the fixed sequence {2, 3, 2, 3, 2, 3, …}. The frequency of the repeat pattern – the beat frequency – is fairly high: The {2, 3} pattern repeats 12 times per second, so the beat frequency is 12 Hz. The ratio of frame rates in this case is 5 ⁄2 – the small integers in this fraction dictate the high beat frequency. When PCs are to display 480i29.97 video that originated on film – whether from laserdisc, DVD, or digital CHAPTER 36 2-3 PULLDOWN 435
satellite – the situation is more complicated, and motion impairments are more likely to be introduced. In conversion to a rate that is related to 24 Hz by a ratio of larger integers, the frequency of the repeated pattern falls. For example, converting to 75 Hz involves the fraction 25 ⁄8 ; this creates the sequence {3, 3, 3, 3, 3, 3, 3, 4}, which repeats three times per second. Converting to 76 Hz involves the fraction 17 ⁄6 ; this creates the sequence {2, 3, 3, 3, 3, 3}, which repeats four times per second. The susceptibility of the human visual system to motion artifacts peaks between 4 and 6 beats per second. The temporal artifacts introduced upon conversion to 75 Hz or 76 Hz are likely to be quite visible. Motion estimation and motion-compensated interpolation could potentially be used to reduce the severity of these conversion artifacts, but these techniques are highly complex, and will remain out of reach for desktop computing for several years. When 24 Hz material is to be displayed in a computing environment with wide viewing angle and good ambient conditions, the best short-term approach is to choose a display rate that is intimately related to 24 Hz. Displaying at 60 Hz reproduces the situation with video display, and we know well that the motion portrayal is quite acceptable. However, 60 Hz is somewhat low as a refresh rate in a high ambient brightness, and flicker could result. Obviously, 72 Hz is ideal for motion portrayal of film; however, a refresh rate of 72 Hz is too low to unconditionally meet ergonomics requirements worldwide. 436 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
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When digital information is process
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Resolution properly refers to spati
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Figure 7.6 Vertical resolution in 4
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Pixel count places a constraint on
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The term luminance is widely misuse
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Figure 8.4 Nonlinearly coded relati
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Tristimulus values are correctly re
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Giorgianni, Edward J., and T.E. Mad
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Simultaneous contrast ratio is the
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Imaging system Some people suggest
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Introduction to luma and chroma 10
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Luma and color differences can be c
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4:2:0 This scheme is used in JPEG/J
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Figure 10.4 Interstitial chroma fil
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The notation CCIR is often wrongly
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Square sampling Component 4:2:2 Rec
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Component 4:2:2 Rec. 601-5 The tech
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See Table 13.1, on page 114, and th
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NTSC stands for National Television
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NTSC and PAL encoding NTSC or PAL e
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Figure 12.2 S-video interface invol
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Concerning the absence of D-4 in th
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Figure 13.1 Comparison of aspect ra
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ATSC A/53, Digital Television Stand
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System Scanning SMPTE standard STL
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data stored in scan-line order, hor
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Compression ratio Quality/applicati
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Figure 14.2 MPEG group of pictures
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Figure 14.6 Example GOP I0B1B2P3B4B
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Many MPEG terms - such as frame, pi
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Voltage, mV 700 350 0 -300 Code, 8-
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SMPTE 259M, 10-Bit 4:2:2 Component
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Voltage, mV 700 350 SMPTE 305.2M, S
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IEC 61883-1, Consumer audio/video e
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For details concerning SCH, see pag
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Some video switchers incorporate di
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My explanation describes the origin
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Figure 16.2 Cosine waves at exactly
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1 1+ sin 0.75 ωt 2 0.5 Figure 16.6
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0 1 2 3 1.0 0.8 0.6 0.4 0.2 0 Time,
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-5 -4 -3 -2 1.0 0.8 0.6 0.4 0.2 -1
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Impulse (point sampling) 0 1 t 0 2
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Figure 16.12 [1, 1] FIR filter sums
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Figure 16.17 5-tap FIR filter respo
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Figure 16.20 Comb filter response r
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125 ns, 45° at 1 MHz 125 ns, 90°
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Compensation of undesired phase res
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ωS 2 ⎛ 1 ⎞ Eq 16.3 Ne ≈ ⋅
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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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Page 393 and 394: The IRE unit is introduced on page
Page 395 and 396: SMPTE 12M, Time and Control Code. S
Page 397 and 398: The V and H bits are asserted durin
Page 399 and 400: * 1250/50 is an exception; see SMPT
Page 401 and 402: See NTSC two-frame sequence, on pag
Page 403 and 404: SMPTE 260M describes a scheme, now
Page 405 and 406: SMPTE 292M, Bit-Serial Digital Inte
Page 407 and 408: A Naive combined sync establishes h
Page 409 and 410: 1 PRE- BROAD EQUALIZATION PULSES 0V
Page 411 and 412: Most lines have a single normalwidt
Page 413 and 414: 1 23 4 5 6 7 Figure 34.6 Sync separ
Page 415 and 416: Figure 34.7 BNC connector Figure 34
Page 418 and 419: Figure 35.1 A videotape recorder (V
Page 420 and 421: In consumer VCR search mode playbac
Page 422 and 423: Heads for other longitudinal tracks
Page 424 and 425: The term sync in sync block is unre
Page 426 and 427: Notation Component analog VTRs are
Page 428 and 429: Even if playback errors are so seve
Page 430 and 431: Notation Method Tape width (track p
Page 432 and 433: D-7 (DVCPRO), DVCAM runs twice the
Page 434 and 435: D-12 (DVCPRO HD) The DV standard wa
Page 436 and 437: Figure 36.1 “2-3 pulldown” refe
Page 438 and 439: Film is transferred to 576i25 video
Page 440 and 441: FILM A A VIDEO, 2-3 PULLDOWN A VIDE
Page 444 and 445: Figure 37.1 Test scene FIRST FIELD
Page 446 and 447: For a modest improvement over 2-tap
Page 448 and 449: Figure 37.13 Interstitial spatial f
Page 450: IN Figure 37.17 Cosited spatial fil
Page 454 and 455: ISO/IEC 10918, Information Technolo
Page 456 and 457: Figure 38.2 DCT concentrates image
Page 458 and 459: Eq 38.1 Owing to the eight-line-hig
Page 460 and 461: In MPEG-2, DC terms can be coded wi
Page 462 and 463: Figure 38.8 Zigzag scanning is used
Page 464 and 465: Figure 38.12 Compression ratio cont
Page 466 and 467: Hamilton, Eric, JPEG File Interchan
Page 468 and 469: Concerning DVC recording, see page
Page 470 and 471: 356 357 358 359 Figure 39.2 Chroma
Page 472 and 473: CMs in a segment are denoted a thro
Page 474 and 475: For a more elaborate description, a
Page 476 and 477: DV HD HD stands for high definition
Page 478: IEC 61904, Video recording - Helica
Page 481 and 482: MPEG-2 specifies several algorithmi
Page 483 and 484: 422P@ML allows 608 lines at 25 Hz f
Page 485 and 486: Figure 40.1 MPEG-2 frame picture co
Page 487 and 488: If horizontal size or vertical size
Page 489 and 490: A prediction region in an anchor fr
Page 491 and 492: 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
Page 548 and 549:
Figure 45.7 Modulated 5-step stair
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( ) PULSE T The risetime, from 10%
Page 552:
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
Page 559 and 560:
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
Page 578 and 579:
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
Page 595 and 596:
NHK Science and Technical Research
Page 597 and 598:
I and Q refer to in-phase and quadr
Page 599 and 600:
Weiss, S. Merrill, Issues in Advanc
Page 602 and 603:
YUV and luminance considered harmfu
Page 604 and 605:
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
Page 610 and 611:
Palmer, James M., “Getting Intens
Page 612 and 613:
Differentiate w.r.t. AREA power, P
Page 614:
Ashdown, Ian, Radiosity: A Programm
Page 617 and 618:
50 Hz. Each film frame is scanned t
Page 619 and 620:
601 See Rec. 601, on page 643. 625/
Page 621 and 622:
B-picture In MPEG, a bidirectionall
Page 623 and 624:
BT.601, BT.709 See Rec. 601 and Rec
Page 625 and 626:
CIE luminance, CIE Y See Luminance.
Page 627 and 628:
information rate of the color diffe
Page 629 and 630:
Contrast 1. Contrast ratio; see bel
Page 631 and 632:
D-10 A SMPTE-standard component SDT
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Drive (n.) A periodic pulse signal
Page 635 and 636:
2. In traditional video usage, the
Page 637 and 638:
G/PAL See PAL-B/G/H, on page 640. (
Page 639 and 640:
4. User-accessible means to adjust
Page 641 and 642:
K-factor, K-rating A numerical char
Page 643 and 644:
Luma A video signal representative
Page 645 and 646:
2. In a camera or scanner, the cond
Page 647 and 648:
Offset sampling Obsolete scanning t
Page 649 and 650:
numerical parameter having a value
Page 651 and 652:
Rendering intent Encoding and subse
Page 653 and 654:
which is a function of the distribu
Page 655 and 656:
Standards conversion Conversion, in
Page 657 and 658:
transmission; or to color differenc
Page 659 and 660:
Y’/C629, Y’/C688 Y’C 1 C 2 Y
Page 661 and 662:
177 Mb/s 129-130 18 MHz sampling ra
Page 663 and 664:
ambient illumination (cont’d) in
Page 665 and 666:
inary group flags (in timecode) 386
Page 667 and 668:
chroma (cont’d) modulation 94, 10
Page 669 and 670:
color (cont’d) difference coding
Page 671 and 672:
CRC (cyclic redundancy check) in HD
Page 673 and 674:
Dolby 589 dominance, field 430 dot
Page 675 and 676:
factor interlace 68, 70 K 542 Kell
Page 677 and 678:
framebuffer 7 framestore 7 France 9
Page 679 and 680:
hue (cont’d) hue decoder control
Page 681 and 682:
ITU-T fax 7, 118 former CCITT 118 H
Page 683 and 684:
longitudinal timecode 382, 384 Look
Page 685 and 686:
N N/PAL 96, 575-576 N10 see also PA
Page 687 and 688:
Panasonic 509-510 Paraguay 576 pari
Page 689 and 690:
pulse (cont’d) colorframe 404 equ
Page 691 and 692:
RMS (root mean square) 19, 146 Robe
Page 693 and 694:
(sin x)/x 147, 149 (graph) also kno
Page 695 and 696:
SVM (scan-velocity modulation) 330,
Page 697 and 698:
uniformity, perceptual 21 in DCT/JP
Page 699 and 700:
widescreen 4 HDTV 112 SDTV 99 480i
Page 701:
This book is set in the Syntax type
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