DigitalVideoAndHDTVAlgorithmsAndInterfaces.pdf

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TEST SCENE SCANNING FIRST FIELD Image row pitch SECOND FIELD Figure 6.6 Twitter would result if this scene were scanned at the indicated line pitch by a camera without vertical filtering, then displayed using interlace. Twitter The flicker susceptibility of vision stems from a widearea effect: As long as the complete height of the picture is scanned sufficiently rapidly to overcome flicker, small-scale picture detail, such as that in the alternate lines, can be transmitted at a lower rate. With progressive scanning, scan-line visibility limits the reduction of spot size. With interlaced scanning, this constraint is relaxed by a factor of two. However, interlace introduces a new constraint, that of twitter. If an image has vertical detail at a scale comparable to the scanning line pitch – for example, if the fine pattern of horizontal line pairs in Figure 6.6 is scanned – then interlaced display causes the content of the first and the second fields to differ markedly. At practical field rates – 50 or 60 Hz – this causes twitter, a small-scale phenomenon that is perceived as a scintillation, or an extremely rapid up-and-down motion. If such image information occupies a large area, then flicker is perceived instead of twitter. Twitter is sometimes called interline flicker, but that is a bad term because flicker is by definition a wide-area effect. Twitter is produced not only from degenerate images such as the fine black-and-white lines of Figure 6.6, but also from high-contrast vertical detail in ordinary images. High-quality video cameras include optical spatial lowpass filters to attenuate vertical detail that would otherwise be liable to produce twitter. When computer-generated imagery (CGI) is interlaced, vertical detail must be filtered in order to avoid flicker. A circuit to accomplish this is called a twitter filter. Interlace in analog systems Interlace is achieved in analog devices by scanning vertically at a constant rate between 50 and 60 Hz, and scanning horizontally at an odd multiple of half that rate. In SDTV in North America and Japan, the field rate is 59.94 Hz; line rate (fH) is 525 ⁄2 (2621 ⁄2) times that rate. In Asia, Australia, and Europe, the field rate is 50 Hz; the line rate is 625 ⁄2 (3121 ⁄2) times the field rate. CHAPTER 6 RASTER SCANNING 57
Figure 6.7 Horizontal and vertical drive pulses effect interlace in analog scanning. 0 V denotes the start of each field. The halfline offset of the second 0 V causes interlace. Here, 576i scanning is shown. Details will be presented in Analog SDTV sync, genlock, and interface on page 399. HD VD 1 23456 FIRST FIELD 0 V (FRAME) Figure 6.7 above shows the horizontal drive (HD) and vertical drive (VD) pulse signals that were once distributed in the studio to cause interlaced scanning in analog equipment. These signals have been superseded by a combined sync (or composite sync) signal; vertical scanning is triggered by broad pulses having total duration of 2 1 ⁄2 or 3 lines. Sync is usually imposed onto the video signal, to avoid separate distribution circuits. Analog sync is coded at a level “blacker than black.” Interlace and progressive For a given viewing distance, sharpness is improved as spot size becomes smaller. However, if spot size is reduced beyond a certain point, depending upon the spot profile of the display, either scan lines or pixels will become visible, or aliasing will intrude. In principle, improvements in bandwidth or spot profile reduce potential viewing distance, enabling a wider picture angle. However, because consumers form expectations about viewing distance, we assume a constant viewing distance and say that resolution is improved instead. A rough conceptual comparison of progressive and interlaced scanning is presented in Figure 6.8 opposite. At first glance, an interlaced system offers twice the number of pixels – loosely, twice the spatial resolution – as a progressive system with the same data capacity and the same frame rate. Owing to twitter, spatial resolution in a practical interlaced system is not double that of a progressive system at the same data rate. Historically, cameras have been designed to avoid producing so much vertical detail that twitter would be objectionable. However, resolution is increased by a factor large enough that interlace has historically been 58 DIGITAL VIDEO AND HDTV ALGORITHMS AND INTERFACES … 312 313 0 V SECOND FIELD … 625
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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
Page 14 and 15: Figure 1.7 Pixel arrays of several
Page 16 and 17: SDTV 1’ ( 1⁄60°) d= 1⁄480 SD
Page 18 and 19: See Appendix B, Introduction to rad
Page 20 and 21: 4095 101 100 0 ∆ = 1% 40.95 : 1 F
Page 22 and 23: See Bit depth requirements, on page
Page 24 and 25: Resolution properly refers to spati
Page 26 and 27: The oct in octave refers to the eig
Page 28 and 29: Sound pressure level, relative 1 0
Page 30 and 31: Figure 2.4 Footroom and headroom ar
Page 32 and 33: Figure 3.1 Contrast control determi
Page 34 and 35: SMPTE RP 71, Setting Chromaticity a
Page 36 and 37: Figure 3.7 Brightness control in Ph
Page 38 and 39: Raster images in computing 4 This c
Page 40 and 41: Symbolic image description Many met
Page 42 and 43: Grayscale A grayscale image represe
Page 44 and 45: Poynton, Charles, “The rehabilita
Page 46 and 47: The browser-safe palette forms a ra
Page 48 and 49: Image width is the product of socal
Page 50 and 51: Don’t confuse PSF with progressiv
Page 52 and 53: Figure 5.3 Diagonal line reconstruc
Page 54 and 55: Figure 5.7 Bitmapped graphic image,
Page 56 and 57: Figure 5.8 Gaussian spot size. Soli
Page 58 and 59: Flicker is sometimes redundantly ca
Page 60 and 61: The word raster is derived from the
Page 62 and 63: Figure 6.3 Production aperture comp
Page 66 and 67: Progressive Interlaced Image row 0
Page 68 and 69: FIRST FIELD SECOND FIELD Figure 6.1
Page 70 and 71: Table 6.3 Video systems are classif
Page 72 and 73: An electrical engineer may call thi
Page 74 and 75: When digital information is process
Page 76 and 77: Resolution properly refers to spati
Page 78 and 79: Figure 7.6 Vertical resolution in 4
Page 80 and 81: Pixel count places a constraint on
Page 82 and 83: The term luminance is widely misuse
Page 84 and 85: Figure 8.4 Nonlinearly coded relati
Page 86 and 87: Tristimulus values are correctly re
Page 88 and 89: Giorgianni, Edward J., and T.E. Mad
Page 90 and 91: Simultaneous contrast ratio is the
Page 92 and 93: Imaging system Some people suggest
Page 94 and 95: Introduction to luma and chroma 10
Page 96 and 97: Luma and color differences can be c
Page 98 and 99: 4:2:0 This scheme is used in JPEG/J
Page 100 and 101: Figure 10.4 Interstitial chroma fil
Page 102 and 103: The notation CCIR is often wrongly
Page 104 and 105: Square sampling Component 4:2:2 Rec
Page 106 and 107: Component 4:2:2 Rec. 601-5 The tech
Page 108 and 109: See Table 13.1, on page 114, and th
Page 110 and 111: NTSC stands for National Television
Page 112 and 113: NTSC and PAL encoding NTSC or PAL e
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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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SMPTE RP 71, Setting Chromaticity a
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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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SMPTE RP 71, Setting Chromaticity a
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Poynton, Charles, “Wide Gamut Dev
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Opto-electronic transfer function (
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Roberts, Alan, “Measurement of di
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The importance of rendering intent,
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See Headroom and footroom, on page
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Eq 23.7 Video signal, V’ 1.2 1.0
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Figure 23.5 Rec. 709, sRGB, and CIE
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PDP and DLP devices are commonly de
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Concerning the conversion between R
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Video, PC TRISTIM. Computergenerate
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An SGI workstation can be set to ha
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The Rec. 709 function is suitable f
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What are loosely called JPEG files
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+1 G AXIS 0 G Bk 0 255 G’ COMPONE
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Here the term color difference refe
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Figure 24.3 shows a time delay elem
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See Appendix A, YUV and luminance c
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Nonlinear red, green, blue (R’G
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The mismatch between the primaries
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XYZ or R 1G 1B 1 TRISTIMULUS 3×3 (
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Owing to the dependence of the opti
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Luma/color difference component set
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System Notation Color difference sc
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For a discussion of primary chromat
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Figure 25.2 P BP R components for S
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The Y’P B P R and Y’C B C R sca
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Eq 25.6 Eq 25.7 You can determine t
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+128 +127 0 -128 (clipped) 0 Figure
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When the term Y’UV (or YUV) is en
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Yl G G Figure 26.1 B’-Y’, R’-
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Figure 26.3 CBCR compo- +112 nents
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Concerning Pointer, see the margina
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Equations 26.12 and 26.13 are writt
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100% 90% 50% 10% 0% 0 1 2 3 4 5 Y
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Active lines (vertically) encompass
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Back porch is described in Analog h
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255 Full-range code, computing 0 -1
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danger in using such operations: Up
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If you use CTI, you run the risk of
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See Appendix A, YUV and luminance c
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Eq 28.3 Eq 28.4 Eq 28.5 Eq 28.6 1
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It is unfortunate that the formulat
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COMPOSITE NTSC VIDEO Y’/C SEPARAT
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COMPOSITE PAL VIDEO Y’/C SEPARATO
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COMPOSITE VIDEO or S-video LUMA COM
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COMPOSITE NTSC VIDEO Saturation Hue
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Y’ C f SC Figure 29.1 Y’/C spec
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1 2 ... 262 263 Figure 29.4 Color s
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Figure 29.7 Dot crawl is exhibited
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1 2 3 4 ... Figure 29.9 Color subca
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COMPOSITE PAL VIDEO Y’/C SEPARATO
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t Opposite field Y’+C t+1⁄59.94
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CHROMA FILTER RESPONSE CHROMA (C) S
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CHROMA (C) SPECTRAL POWER LUMA (Y
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Because an analog demodulator canno
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Y’ I Q 1.3 MHz 600 kHz SUBCARRIER
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A decoder cannot determine whether
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525 · 60 = 15750 2 Line rate The t
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60 1000 525× 2 1001 315 88 3 57954
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Sampling NTSC at 4f SC gives 910 sa
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60 Hz 7 · 5 · 5 · 3 525/60 (480
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3· 588· 25 Hz = 44100 Hz 3 490 30
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See Frame, field, line, and sample
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SMPTE 258M, Television - Transfer o
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The IRE unit is introduced on page
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SMPTE 12M, Time and Control Code. S
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The V and H bits are asserted durin
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* 1250/50 is an exception; see SMPT
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See NTSC two-frame sequence, on pag
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SMPTE 260M describes a scheme, now
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SMPTE 292M, Bit-Serial Digital Inte
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A Naive combined sync establishes h
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1 PRE- BROAD EQUALIZATION PULSES 0V
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Most lines have a single normalwidt
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1 23 4 5 6 7 Figure 34.6 Sync separ
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Figure 34.7 BNC connector Figure 34
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Figure 35.1 A videotape recorder (V
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In consumer VCR search mode playbac
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Heads for other longitudinal tracks
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The term sync in sync block is unre
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Notation Component analog VTRs are
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Even if playback errors are so seve
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Notation Method Tape width (track p
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D-7 (DVCPRO), DVCAM runs twice the
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D-12 (DVCPRO HD) The DV standard wa
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Figure 36.1 “2-3 pulldown” refe
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Film is transferred to 576i25 video
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FILM A A VIDEO, 2-3 PULLDOWN A VIDE
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Native 24 Hz coding Traditionally,
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Figure 37.1 Test scene FIRST FIELD
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For a modest improvement over 2-tap
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Figure 37.13 Interstitial spatial f
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IN Figure 37.17 Cosited spatial fil
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ISO/IEC 10918, Information Technolo
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Figure 38.2 DCT concentrates image
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Eq 38.1 Owing to the eight-line-hig
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In MPEG-2, DC terms can be coded wi
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Figure 38.8 Zigzag scanning is used
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Figure 38.12 Compression ratio cont
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Hamilton, Eric, JPEG File Interchan
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Concerning DVC recording, see page
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356 357 358 359 Figure 39.2 Chroma
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CMs in a segment are denoted a thro
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For a more elaborate description, a
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DV HD HD stands for high definition
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IEC 61904, Video recording - Helica
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MPEG-2 specifies several algorithmi
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422P@ML allows 608 lines at 25 Hz f
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Figure 40.1 MPEG-2 frame picture co
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If horizontal size or vertical size
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A prediction region in an anchor fr
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Each nonintra macroblock in an inte
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Figure 40.4 Frame DCT type involves
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Distributed refresh does not guaran
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Whether an encoder actually searche
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Figure 40.9 Buffer occupancy in MPE
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Group of pictures (GOP header) the
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Gibson, Jerry D., Toby Berger, Tom
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f FR f H 30 = ≈ 29. 97 Hz 1. 001
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Concerning closed captions, see ANS
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CHAPTER 41 480 i COMPONENT VIDEO 50
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SMPTE RP 187, Center, Aspect Ratio
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8-bit code 235 125 1 / 2 16 Figure
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Voltage, mV 700 350 0 -300 0 H EIA/
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480i NTSC composite video 42 Althou
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Concerning the association of U wit
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IEC 60933-5 (1992-11) Interconnecti
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8-bit code 200 176.25 70.5 60 4 757
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Derived line rate is 15.625 kHz. It
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For details concerning VITC in 576i
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CHAPTER 43 576 i COMPONENT VIDEO 52
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SMPTE RP 187, Center, Aspect Ratio
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Code 235 125 1 / 2 16 Figure 43.2 5
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1135 4 1 + = 625 709379 2500 = 283.
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See NTSC Y’IQ system, on page 365
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8-bit code 211 137.5 64 EBU Tech. 3
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ANSI/EIA-189-A, Encoded Color Bar S
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Figure 45.3 NTSC- Encoded 100/0/75/
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ITU-R Rec. BT.471, Nomenclature and
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Figure 45.7 Modulated 5-step stair
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( ) PULSE T The risetime, from 10%
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Figure 45.12 FCC composite test sig
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tri Trilevel pulse BR Broad pulse T
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550 DIGITAL VIDEO AND HDTV ALGORITH
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Component digital 4:2:2 interface Y
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Passband insertion gain, dB Stopban
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SMPTE 274M, 1920 × 1080 Scanning a
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tri Trilevel pulse BR Broad pulse L
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Trilevel sync comprises a negative
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Vertical interval video lines do no
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RGB primary components Picture info
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mV +700 +350 +300 0 -300 -44 +44 0H
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ITU-R Rec. BT.470, Conventional tel
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PAL-D is ambiguous, referring eithe
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Bower, A.J., NICAM 728 - Digital Tw
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SECAM had an advantage during the 1
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Consumer analog NTSC and PAL 49 Con
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Macrovision is a proprietary, paten
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CENELEC EN 50049-1:1989 IEC 60933-1
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VHS trick mode playback A VHS VCR h
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NHK Science and Technical Research
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I and Q refer to in-phase and quadr
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Weiss, S. Merrill, Issues in Advanc
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YUV and luminance considered harmfu
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Pritchard, D.H., “U.S. Color Tele
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When I say NTSC and PAL, I refer to
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ANSI/IESNA RP-16, Nomenclature and
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Palmer, James M., “Getting Intens
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Differentiate w.r.t. AREA power, P
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Ashdown, Ian, Radiosity: A Programm
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50 Hz. Each film frame is scanned t
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601 See Rec. 601, on page 643. 625/
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B-picture In MPEG, a bidirectionall
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BT.601, BT.709 See Rec. 601 and Rec
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CIE luminance, CIE Y See Luminance.
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information rate of the color diffe
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Contrast 1. Contrast ratio; see bel
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D-10 A SMPTE-standard component SDT
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Drive (n.) A periodic pulse signal
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2. In traditional video usage, the
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G/PAL See PAL-B/G/H, on page 640. (
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4. User-accessible means to adjust
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K-factor, K-rating A numerical char
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Luma A video signal representative
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2. In a camera or scanner, the cond
Page 647 and 648:
Offset sampling Obsolete scanning t
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numerical parameter having a value
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Rendering intent Encoding and subse
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which is a function of the distribu
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Standards conversion Conversion, in
Page 657 and 658:
transmission; or to color differenc
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Y’/C629, Y’/C688 Y’C 1 C 2 Y
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177 Mb/s 129-130 18 MHz sampling ra
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ambient illumination (cont’d) in
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
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CRC (cyclic redundancy check) in HD
Page 673 and 674:
Dolby 589 dominance, field 430 dot
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factor interlace 68, 70 K 542 Kell
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framebuffer 7 framestore 7 France 9
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hue (cont’d) hue decoder control
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ITU-T fax 7, 118 former CCITT 118 H
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longitudinal timecode 382, 384 Look
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N N/PAL 96, 575-576 N10 see also PA
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Panasonic 509-510 Paraguay 576 pari
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pulse (cont’d) colorframe 404 equ
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RMS (root mean square) 19, 146 Robe
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(sin x)/x 147, 149 (graph) also kno
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SVM (scan-velocity modulation) 330,
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uniformity, perceptual 21 in DCT/JP
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widescreen 4 HDTV 112 SDTV 99 480i
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This book is set in the Syntax type
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