DigitalVideoAndHDTVAlgorithmsAndInterfaces.pdf

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Profile@Level Samples/ line (S AL) Concerning the distinction between luminance and luma, see Appendix A, on page 595. Lines/ frame (L A) Frame rate, Hz Luma rate, samples/s Bitrate, Mb/s VBV size, bits 422P@HL 1920 1088 60 62 668 800 300 47 185 920 MP@HL 1920 1088 60 62 668 800 80 9 781 248 MP@H-14 1440 1088 60 47 001 600 60 7 340 032 422P@ML 720 608 60 11 059 200 50 9 437 184 MP@ML 720 576 30 10 368 000 15 1 835 008 MP@LL 352 288 30 3 041 280 4 475 136 Table 40.2 MPEG-2 main and 4:2:2 profiles are summarized. MP@ML and MP@HL are shaded to emphasize their commercial significance. The DVD-video specification requires MP@ML compliance, and imposes additional constraints. ATSC standards for 720p, 1080p, and 1080i HDTV require MP@HL compliance, and impose additional constraints. Code Value 0000 Forbidden 0001 Square sampling 0010 4:3 0011 16:9 0100 2.21:1 0101 … 1111 Reserved Table 40.4 MPEG-2 aspect ratio information Picture structure Each frame in MPEG-2 is coded with a fixed number of columns (SAL, called horizontal size in MPEG) and rows (LA, called vertical size) of luma samples. Here I use the term luma; MPEG documents use luminance, but that term is technically incorrect in MPEG’s context. A frame in MPEG-2 has either square sampling, or 4:3, 16:9, or 2.21:1 picture aspect ratio. (Strangely, MPEG writes aspect ratio as height:width.) Table 40.4 presents MPEG-2’s aspect ratio information field. The 2.21:1 value is not permitted in any defined profile. MPEG-2 accommodates both progressive and interlaced material. An image having S AL columns and L A rows of luma samples can be coded directly as a framestructured picture, as depicted at the left of Figure 40.1 overleaf. In a frame-structured picture, all of the luma and chroma samples of a frame are taken to originate at the same time, and are intended for display at the same time. A flag progressive sequence asserts that a sequence contains only frame-structured pictures. Alternatively, a video frame (typically originated from an interlaced source) may be coded as a pair of field-structured pictures – a top-field picture and a bottom-field picture – each having S AL columns and L A/2 rows as CHAPTER 40 MPEG-2 VIDEO COMPRESSION 477
Figure 40.1 MPEG-2 frame picture contains an array of luma samples S AL columns by L A rows. It is implicit that an MPEG-2 frame picture occupies the entire frame time. I, P, and B picture coding types were introduced on page 121. Code Value 0000 Forbidden 0001 24 ⁄1.001 0010 24 0011 25 0100 30 ⁄1.001 0101 30 0110 50 0111 60 ⁄1.001 1000 60 1001 … 1111 Reserved Table 40.5 MPEG-2 frame rate code A frame-coded picture can code a top/bottom pair or a bottom/top pair – that is, a frame picture may correspond to a video frame, or may straddle two video frames. The latter case accommodates M-frames in 2-3 pulldown. Figure 40.2 MPEG-2 field picture pair contains a top field picture and a bottom field picture, each S AL columns by L A /2 rows. The samples are vertically offset. Here I show a pair ordered {top, bottom}; alternatively, it could be {bottom, top}. Concerning the relation between top and bottom fields and video standards, see Interlacing in MPEG-2, on page 98. depicted by Figure 40.2. The two fields are time-offset by half the frame time, and are intended for interlaced display. Field pictures always come in pairs having opposite parity (top/bottom). Both pictures in a field pair must have the same picture coding type (I, P, or B), except that an I-field may be followed by a P-field (in which case the pair functions as an I-frame, and may be termed an IP-frame). Frame rate and 2-3 pulldown in MPEG The defined profiles of MPEG-2 provide for the display frame rates shown in Table 40.5 in the margin. Frame rate is constant within a video sequence (to be defined on page 494). It is unspecified how long a decoder may take to adapt to a change in frame rate. In a sequence of frame-structured pictures, provisions are made to include, in the MPEG-2 bitstream, information to enable the display process to impose 2-3 pulldown upon interlaced display. Frames in such a sequence are coded as frame-structured pictures; in each frame, both fields are associated with the same instant in time. The flag repeat first field may accompany a picture; if that flag is set, then interlaced display is expected to display the first field, the second field, and then the first field again – that is, to impose 2-3 pulldown. The frame rate in the bitstream specifies the display rate, after 2-3 processing. I sketched a 2-3 sequence of four film frames in Figure 36.1, on page 429; that sequence could be coded as the set of four progressive MPEG-2 frames flagged as indicated in Table 40.6 at the top of the facing page. 478 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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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
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 442 and 443: Native 24 Hz coding Traditionally,
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: 422P@ML allows 608 lines at 25 Hz f
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
Page 493 and 494: Figure 40.4 Frame DCT type involves
Page 495 and 496: Distributed refresh does not guaran
Page 497 and 498: Whether an encoder actually searche
Page 499 and 500: Figure 40.9 Buffer occupancy in MPE
Page 501 and 502: Group of pictures (GOP header) the
Page 503 and 504: Gibson, Jerry D., Toby Berger, Tom
Page 506 and 507: f FR f H 30 = ≈ 29. 97 Hz 1. 001
Page 508 and 509: Concerning closed captions, see ANS
Page 510 and 511: CHAPTER 41 480 i COMPONENT VIDEO 50
Page 512 and 513: SMPTE RP 187, Center, Aspect Ratio
Page 514 and 515: 8-bit code 235 125 1 / 2 16 Figure
Page 516 and 517: Voltage, mV 700 350 0 -300 0 H EIA/
Page 518 and 519: 480i NTSC composite video 42 Althou
Page 520 and 521: Concerning the association of U wit
Page 522 and 523: IEC 60933-5 (1992-11) Interconnecti
Page 524 and 525: 8-bit code 200 176.25 70.5 60 4 757
Page 526 and 527: Derived line rate is 15.625 kHz. It
Page 528 and 529: For details concerning VITC in 576i
Page 530 and 531: CHAPTER 43 576 i COMPONENT VIDEO 52
Page 532 and 533: SMPTE RP 187, Center, Aspect Ratio
Page 534 and 535:
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
Page 614:
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
Page 623 and 624:
BT.601, BT.709 See Rec. 601 and Rec
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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
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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
Page 643 and 644:
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
Page 649 and 650:
numerical parameter having a value
Page 651 and 652:
Rendering intent Encoding and subse
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which is a function of the distribu
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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
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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
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chroma (cont’d) modulation 94, 10
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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,
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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
show all

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