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4:2:0 This scheme is used in JPEG/JFIF, H.261, MPEG-1, MPEG-2, and consumer 576i25 DVC. C B and C R are each subsampled by a factor of 2 horizontally and a factor of 2 vertically. The 12 bytes of R’G’B’ are reduced to 6. C B and C R are effectively centered vertically halfway between image rows. There are two vari- ITU-T Rec. H.261, known casually as p×64 (“p times 64”), is a videoconferencing standard. The use of 4 as the numerical basis for subsampling notation is a historical reference to sampling at roughly four times the NTSC color subcarrier frequency. The 4f SC rate was already in use for composite digital video. Figure 10.3 Chroma subsampling notation indicates, in the first digit, the luma horizontal sampling reference. The second digit specifies the horizontal subsampling of C B and C R with respect to luma. The third digit originally specified the horizontal subsampling of C R . The notation developed without anticipating vertical subsampling; a third digit of zero now denotes 2:1 vertical subsampling of both C B and C R. ants of 4:2:0, having different horizontal siting. In MPEG-2, C B and C R are cosited horizontally. In JPEG/JFIF, H.261, and MPEG-1, C B and C R are sited interstitially, halfway between alternate luma samples. Figure 10.2 overleaf summarizes the various schemes. Subsampling effects 1.5:1 or 2:1 lossy compression. However, in studio terminology, subsampled video is referred to as uncompressed: The word compression is reserved for JPEG, M-JPEG, MPEG, or other techniques. Chroma subsampling notation At the outset of digital video, subsampling notation was logical; unfortunately, technology outgrew the notation. In Figure 10.3 below, I strive to clarify today’s nomenclature. The first digit originally specified luma sample rate relative to 33 ⁄8 MHz. HDTV was once supposed to be described as 22:11:11! The leading digit has, thankfully, come to be relative to the sample rate in use. Until recently, the initial digit was always 4, since all chroma ratios have been powers of two – 4, 2, or 1. However, 3:1:1 subsampling has recently been commercialized in an HDTV production system (Sony’s HDCAM), and in the SDL mode of consumer DV (see page 468), so 3 may now appear as the leading digit. Luma horizontal sampling reference (originally, luma f S as multiple of 3 3⁄ 8 MHz) 4:2:2:4 C B and C R horizontal factor (relative to first digit) Same as second digit; or zero, indicating C B and C R are subsampled 2:1 vertically If present, same as luma digit; indicates alpha (key) component CHAPTER 10 INTRODUCTION TO LUMA AND CHROMA 91
CY’ Y’ C Y Y’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ C Y Y’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ CY’ Y’ CY Y ’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY Y ’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ 4:2:2 progressive 4:2:0 MPEG-2 Frame picture (progressive) 4:2:0 JPEG/JFIF (progressive) Figure 10.2 Subsampling schemes are summarized here. C indicates a [C B , C R ] sample pair when located at the same site; otherwise (as in the DV schemes) individual C B and C R notations indicate the centers of the respective chroma samples. Y’ indicates the center of a luma sample. The schemes in the left column are progressive. The schemes in the right column are interlaced; there, black letters indicate top field samples and gray letters indicate bottom field samples. CY’ Y’ C Y Y’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ C Y Y’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ CY B’ Y’ C Y YR’ Y’ CYB’ Y’ CYR’ Y’ CYB’ Y’ CYR’ Y’ CYB’ Y’ CY R’ Y’ CY B’ Y’ C Y YR’ Y’ CYB’ Y’ CYR’ Y’ CYB’ Y’ CYR’ Y’ CYB’ Y’ CY R’ Y’ CY’ Y’ CY Y ’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY Y ’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ CY’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ Y’ C Y’ Y’ Y’ CY B’ CYR’ C Y YB’ CY R’ CY B’ CYR’ C Y YB’ CY R’ CYB’ CYR’ CYB’ CY R’ CYB’ CYR’ CYB’ CY R’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ CY B’ CYR’ C Y YB’ CY R’ CY B’ CYR’ C Y YB’ CY R’ CYB’ CYR’ CYB’ CY R’ CYB’ CYR’ CYB’ CY R’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ Y’ CY B’ Y’ C Y YR’ Y’ CYB’ Y’ CYR’ Y’ CYB’ Y’ CYR’ Y’ CYB’ Y’ CY R’ Y’ CY B’ Y’ C Y YR’ Y’ CYB’ Y’ CYR’ Y’ CYB’ Y’ CYR’ Y’ CYB’ Y’ CY R’ Y’ 4:2:2 (Rec. 601) interlaced 4:2:0 MPEG-2 interlaced 4:2:0 DV interlaced 4:1:1 DV interlaced 92 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
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 64 and 65: TEST SCENE SCANNING FIRST FIELD Ima
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 100 and 101: Figure 10.4 Interstitial chroma fil
Page 102 and 103: The notation CCIR is often wrongly
Page 104 and 105: Square sampling Component 4:2:2 Rec
Page 106 and 107: Component 4:2:2 Rec. 601-5 The tech
Page 108 and 109: See Table 13.1, on page 114, and th
Page 110 and 111: NTSC stands for National Television
Page 112 and 113: NTSC and PAL encoding NTSC or PAL e
Page 114 and 115: Figure 12.2 S-video interface invol
Page 116: Concerning the absence of D-4 in th
Page 119 and 120: Figure 13.1 Comparison of aspect ra
Page 121 and 122: ATSC A/53, Digital Television Stand
Page 123 and 124: System Scanning SMPTE standard STL
Page 125 and 126: data stored in scan-line order, hor
Page 127 and 128: Compression ratio Quality/applicati
Page 129 and 130: Figure 14.2 MPEG group of pictures
Page 131 and 132: Figure 14.6 Example GOP I0B1B2P3B4B
Page 133 and 134: Many MPEG terms - such as frame, pi
Page 135 and 136: Voltage, mV 700 350 0 -300 Code, 8-
Page 137 and 138: SMPTE 259M, 10-Bit 4:2:2 Component
Page 139 and 140: Voltage, mV 700 350 SMPTE 305.2M, S
Page 141 and 142: IEC 61883-1, Consumer audio/video e
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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
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tri Trilevel pulse BR Broad pulse T
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550 DIGITAL VIDEO AND HDTV ALGORITH
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Component digital 4:2:2 interface Y
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Passband insertion gain, dB Stopban
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SMPTE 274M, 1920 × 1080 Scanning a
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tri Trilevel pulse BR Broad pulse L
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Trilevel sync comprises a negative
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Vertical interval video lines do no
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RGB primary components Picture info
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mV +700 +350 +300 0 -300 -44 +44 0H
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ITU-R Rec. BT.470, Conventional tel
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PAL-D is ambiguous, referring eithe
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Bower, A.J., NICAM 728 - Digital Tw
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SECAM had an advantage during the 1
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Consumer analog NTSC and PAL 49 Con
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Macrovision is a proprietary, paten
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CENELEC EN 50049-1:1989 IEC 60933-1
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VHS trick mode playback A VHS VCR h
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NHK Science and Technical Research
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I and Q refer to in-phase and quadr
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Weiss, S. Merrill, Issues in Advanc
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YUV and luminance considered harmfu
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Pritchard, D.H., “U.S. Color Tele
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When I say NTSC and PAL, I refer to
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ANSI/IESNA RP-16, Nomenclature and
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Palmer, James M., “Getting Intens
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Differentiate w.r.t. AREA power, P
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Ashdown, Ian, Radiosity: A Programm
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50 Hz. Each film frame is scanned t
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601 See Rec. 601, on page 643. 625/
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B-picture In MPEG, a bidirectionall
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BT.601, BT.709 See Rec. 601 and Rec
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CIE luminance, CIE Y See Luminance.
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information rate of the color diffe
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Contrast 1. Contrast ratio; see bel
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D-10 A SMPTE-standard component SDT
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Drive (n.) A periodic pulse signal
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2. In traditional video usage, the
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G/PAL See PAL-B/G/H, on page 640. (
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4. User-accessible means to adjust
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K-factor, K-rating A numerical char
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Luma A video signal representative
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2. In a camera or scanner, the cond
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Offset sampling Obsolete scanning t
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numerical parameter having a value
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Rendering intent Encoding and subse
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which is a function of the distribu
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Standards conversion Conversion, in
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transmission; or to color differenc
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Y’/C629, Y’/C688 Y’C 1 C 2 Y
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177 Mb/s 129-130 18 MHz sampling ra
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ambient illumination (cont’d) in
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inary group flags (in timecode) 386
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chroma (cont’d) modulation 94, 10
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color (cont’d) difference coding
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CRC (cyclic redundancy check) in HD
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Dolby 589 dominance, field 430 dot
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factor interlace 68, 70 K 542 Kell
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framebuffer 7 framestore 7 France 9
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hue (cont’d) hue decoder control
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ITU-T fax 7, 118 former CCITT 118 H
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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