DigitalVideoAndHDTVAlgorithmsAndInterfaces.pdf

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Pritchard, D.H., “U.S. Color Television Fundamentals – A Review,” in SMPTE Journal, 86 (11): 819– 828 (Nov. 1977). Smith, A.R., “Color Gamut Transform Pairs,” in Computer Graphics 12 (2): 12–19 (Aug. 1978, Proc. SIGGRAPH 78). Foley, James D., and Andries van Dam, Fundamentals of Interactive Computer Graphics (Reading, Mass.: Addison-Wesley, 1984). Foley, James D., Andries van Dam, Steven Feiner, and John Hughes, Computer Graphics: Principles and Practice, Second Edition (Reading, Mass.: Addison-Wesley, 1990). 589 (Section 13.3.3). Widespread use of incorrect terminology is not a new phenomenon. The indigenous people of North America were, for many centuries, referred to as “Indians.” Why? After his long voyage across what we now call the Atlantic Ocean, when Christopher Columbus finally saw land, he thought it was India. the color science quantity and the video quantity. Most video engineers nowadays are unfamiliar with color science, and most do not understand the distinction. Engineers today often carelessly use the word luminance, and the symbol Y, to refer to the weighted sum of nonlinear (gamma-corrected) R’G’B’ components. The sloppy nomenclature made its way into ostensibly authoritative video references, such as Pritchard’s SMPTE paper published in 1977. The computer graphics pioneer Alvy Ray Smith encountered the word luminance in his quest to adapt video principles to computer graphics. Smith apparently correlated the use of the term luminance with his knowledge of color science, and understandably – though wrongly – concluded that video “luminance” and color science luminance were identical. Consequently, video Y’IQ was introduced to computer graphics, having its Y component alleged to be identical to CIE luminance. That incorrect interpretation propagated into authoritative computer graphics textbooks. Computer Graphics: Principles and Practice, Second Edition, in the section entitled The YIQ Color Model, includes this sentence: The Y component of YIQ is not yellow but luminance, and is defined to be the same as the CIE Y primary. The emphasis is in the original. “Yellow” refers to CMY; printing inks were mentioned in the immediately preceding section. “CIE Y primary” would be more accurately denoted “CIE Y component.” Contrary to the quoted paragraph, the so-called Y component of video – more properly designated with a prime symbol, Y’ – is not the same as CIE luminance. Video Y’ cannot even be computed from CIE Y, unless two other color components are also available. The quoted passage is quite wrong. About 300,000 copies of various editions and adaptations of CG:PP have been printed. Confusion is rampant. APPENDIX A YUV AND LUMINANCE CONSIDERED HARMFUL 597
Pratt, William K., Digital Image Processing, Second Edition (New York: Wiley, 1991). , 64. SMPTE EG 28, Annotated Glossary of Essential Terms for Electronic Production. The error propagated into the digital image-processing community. Pratt’s textbook states: N.T.S.C. formulated a color coordinate system for transmission composed of three tristimulus values YIQ. The Y tristimulus value is the luminance of a color. The video quantities are certainly not tristimulus values, which are, by CIE’s definition, proportional to intensity. Loose nomenclature on the part of video engineers has misled a generation of digital image processing, computer software, and computer hardware engineers. The enshrining of luma The term luma was used in video for a long time, without having had a precise interpretation. I campaigned among video engineers, and among computer graphics experts, for adoption of the term luma to designate the nonlinear video quantity. The term offers no impediment to video engineers – in fact, it slides off the tongue more easily than luminance. By virtue of its being a different word from luminance, the word luma invites readers from other domains to investigate fully before drawing conclusions about its relationship with luminance. With the help of Fred Kolb, my campaign succeeded: In 1993, SMPTE adopted Engineering Guideline EG 28, Annotated Glossary of Essential Terms for Electronic Production. EG 28 defines the term luma, and clarifies the two conflicting interpretations of the term luminance. While a SMPTE EG is not quite a SMPTE “Standard,” at long last the term has received official recognition. There’s no longer any excuse for sloppy use of the term luminance by the authors of video engineering papers and books. Had the term luma been widespread 20 years ago when A.R. Smith was writing about YIQ, or when Foley and van Dam were preparing Computer Graphics: Principles and Practice, this whole mess would have been avoided. But EG 28 was unavailable at the time. 598 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
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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
Page 555 and 556: tri Trilevel pulse BR Broad pulse T
Page 557 and 558: 550 DIGITAL VIDEO AND HDTV ALGORITH
Page 559 and 560: Component digital 4:2:2 interface Y
Page 561 and 562: Passband insertion gain, dB Stopban
Page 564 and 565: SMPTE 274M, 1920 × 1080 Scanning a
Page 566 and 567: tri Trilevel pulse BR Broad pulse L
Page 568 and 569: Trilevel sync comprises a negative
Page 570 and 571: Vertical interval video lines do no
Page 572 and 573: RGB primary components Picture info
Page 574: mV +700 +350 +300 0 -300 -44 +44 0H
Page 578 and 579: ITU-R Rec. BT.470, Conventional tel
Page 580 and 581: PAL-D is ambiguous, referring eithe
Page 582 and 583: Bower, A.J., NICAM 728 - Digital Tw
Page 584 and 585: SECAM had an advantage during the 1
Page 586 and 587: Consumer analog NTSC and PAL 49 Con
Page 588 and 589: Macrovision is a proprietary, paten
Page 590 and 591: CENELEC EN 50049-1:1989 IEC 60933-1
Page 592: 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 606 and 607: When I say NTSC and PAL, I refer to
Page 608 and 609: 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
Page 633 and 634: 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
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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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