- •Contents
- •Figures
- •Tables
- •Preface
- •Acknowledgments
- •1. Raster images
- •Aspect ratio
- •Geometry
- •Image capture
- •Digitization
- •Perceptual uniformity
- •Colour
- •Luma and colour difference components
- •Digital image representation
- •Square sampling
- •Comparison of aspect ratios
- •Aspect ratio
- •Frame rates
- •Image state
- •EOCF standards
- •Entertainment programming
- •Acquisition
- •Consumer origination
- •Consumer electronics (CE) display
- •Contrast
- •Contrast ratio
- •Perceptual uniformity
- •The “code 100” problem and nonlinear image coding
- •Linear and nonlinear
- •4. Quantization
- •Linearity
- •Decibels
- •Noise, signal, sensitivity
- •Quantization error
- •Full-swing
- •Studio-swing (footroom and headroom)
- •Interface offset
- •Processing coding
- •Two’s complement wrap-around
- •Perceptual attributes
- •History of display signal processing
- •Digital driving levels
- •Relationship between signal and lightness
- •Algorithm
- •Black level setting
- •Effect of contrast and brightness on contrast and brightness
- •An alternate interpretation
- •Brightness and contrast controls in LCDs
- •Brightness and contrast controls in PDPs
- •Brightness and contrast controls in desktop graphics
- •Symbolic image description
- •Raster images
- •Conversion among types
- •Image files
- •“Resolution” in computer graphics
- •7. Image structure
- •Image reconstruction
- •Sampling aperture
- •Spot profile
- •Box distribution
- •Gaussian distribution
- •8. Raster scanning
- •Flicker, refresh rate, and frame rate
- •Introduction to scanning
- •Scanning parameters
- •Interlaced format
- •Interlace and progressive
- •Scanning notation
- •Motion portrayal
- •Segmented-frame (24PsF)
- •Video system taxonomy
- •Conversion among systems
- •9. Resolution
- •Magnitude frequency response and bandwidth
- •Visual acuity
- •Viewing distance and angle
- •Kell effect
- •Resolution
- •Resolution in video
- •Viewing distance
- •Interlace revisited
- •10. Constant luminance
- •The principle of constant luminance
- •Compensating for the CRT
- •Departure from constant luminance
- •Luma
- •“Leakage” of luminance into chroma
- •11. Picture rendering
- •Surround effect
- •Tone scale alteration
- •Incorporation of rendering
- •Rendering in desktop computing
- •Luma
- •Sloppy use of the term luminance
- •Colour difference coding (chroma)
- •Chroma subsampling
- •Chroma subsampling notation
- •Chroma subsampling filters
- •Chroma in composite NTSC and PAL
- •Scanning standards
- •Widescreen (16:9) SD
- •Square and nonsquare sampling
- •Resampling
- •NTSC and PAL encoding
- •NTSC and PAL decoding
- •S-video interface
- •Frequency interleaving
- •Composite analog SD
- •15. Introduction to HD
- •HD scanning
- •Colour coding for BT.709 HD
- •Data compression
- •Image compression
- •Lossy compression
- •JPEG
- •Motion-JPEG
- •JPEG 2000
- •Mezzanine compression
- •MPEG
- •Picture coding types (I, P, B)
- •Reordering
- •MPEG-1
- •MPEG-2
- •Other MPEGs
- •MPEG IMX
- •MPEG-4
- •AVC-Intra
- •WM9, WM10, VC-1 codecs
- •Compression for CE acquisition
- •AVCHD
- •Compression for IP transport to consumers
- •VP8 (“WebM”) codec
- •Dirac (basic)
- •17. Streams and files
- •Historical overview
- •Physical layer
- •Stream interfaces
- •IEEE 1394 (FireWire, i.LINK)
- •HTTP live streaming (HLS)
- •18. Metadata
- •Metadata Example 1: CD-DA
- •Metadata Example 2: .yuv files
- •Metadata Example 3: RFF
- •Metadata Example 4: JPEG/JFIF
- •Metadata Example 5: Sequence display extension
- •Conclusions
- •19. Stereoscopic (“3-D”) video
- •Acquisition
- •S3D display
- •Anaglyph
- •Temporal multiplexing
- •Polarization
- •Wavelength multiplexing (Infitec/Dolby)
- •Autostereoscopic displays
- •Parallax barrier display
- •Lenticular display
- •Recording and compression
- •Consumer interface and display
- •Ghosting
- •Vergence and accommodation
- •20. Filtering and sampling
- •Sampling theorem
- •Sampling at exactly 0.5fS
- •Magnitude frequency response
- •Magnitude frequency response of a boxcar
- •The sinc weighting function
- •Frequency response of point sampling
- •Fourier transform pairs
- •Analog filters
- •Digital filters
- •Impulse response
- •Finite impulse response (FIR) filters
- •Physical realizability of a filter
- •Phase response (group delay)
- •Infinite impulse response (IIR) filters
- •Lowpass filter
- •Digital filter design
- •Reconstruction
- •Reconstruction close to 0.5fS
- •“(sin x)/x” correction
- •Further reading
- •2:1 downsampling
- •Oversampling
- •Interpolation
- •Lagrange interpolation
- •Lagrange interpolation as filtering
- •Polyphase interpolators
- •Polyphase taps and phases
- •Implementing polyphase interpolators
- •Decimation
- •Lowpass filtering in decimation
- •Spatial frequency domain
- •Comb filtering
- •Spatial filtering
- •Image presampling filters
- •Image reconstruction filters
- •Spatial (2-D) oversampling
- •Retina
- •Adaptation
- •Contrast sensitivity
- •Contrast sensitivity function (CSF)
- •24. Luminance and lightness
- •Radiance, intensity
- •Luminance
- •Relative luminance
- •Luminance from red, green, and blue
- •Lightness (CIE L*)
- •Fundamentals of vision
- •Definitions
- •Spectral power distribution (SPD) and tristimulus
- •Spectral constraints
- •CIE XYZ tristimulus
- •CIE [x, y] chromaticity
- •Blackbody radiation
- •Colour temperature
- •White
- •Chromatic adaptation
- •Perceptually uniform colour spaces
- •CIE L*a*b* (CIELAB)
- •CIE L*u*v* and CIE L*a*b* summary
- •Colour specification and colour image coding
- •Further reading
- •Additive reproduction (RGB)
- •Characterization of RGB primaries
- •BT.709 primaries
- •Leggacy SD primaries
- •sRGB system
- •SMPTE Free Scale (FS) primaries
- •AMPAS ACES primaries
- •SMPTE/DCI P3 primaries
- •CMFs and SPDs
- •Normalization and scaling
- •Luminance coefficients
- •Transformations between RGB and CIE XYZ
- •Noise due to matrixing
- •Transforms among RGB systems
- •Camera white reference
- •Display white reference
- •Gamut
- •Wide-gamut reproduction
- •Free Scale Gamut, Free Scale Log (FS-Gamut, FS-Log)
- •Further reading
- •27. Gamma
- •Gamma in CRT physics
- •The amazing coincidence!
- •Gamma in video
- •Opto-electronic conversion functions (OECFs)
- •BT.709 OECF
- •SMPTE 240M OECF
- •sRGB transfer function
- •Transfer functions in SD
- •Bit depth requirements
- •Gamma in modern display devices
- •Estimating gamma
- •Gamma in video, CGI, and Macintosh
- •Gamma in computer graphics
- •Gamma in pseudocolour
- •Limitations of 8-bit linear coding
- •Linear and nonlinear coding in CGI
- •Colour acuity
- •RGB and R’G’B’ colour cubes
- •Conventional luma/colour difference coding
- •Luminance and luma notation
- •Nonlinear red, green, blue (R’G’B’)
- •BT.601 luma
- •BT.709 luma
- •Chroma subsampling, revisited
- •Luma/colour difference summary
- •SD and HD luma chaos
- •Luma/colour difference component sets
- •B’-Y’, R’-Y’ components for SD
- •PBPR components for SD
- •CBCR components for SD
- •Y’CBCR from studio RGB
- •Y’CBCR from computer RGB
- •“Full-swing” Y’CBCR
- •Y’UV, Y’IQ confusion
- •B’-Y’, R’-Y’ components for BT.709 HD
- •PBPR components for BT.709 HD
- •CBCR components for BT.709 HD
- •CBCR components for xvYCC
- •Y’CBCR from studio RGB
- •Y’CBCR from computer RGB
- •Conversions between HD and SD
- •Colour coding standards
- •31. Video signal processing
- •Edge treatment
- •Transition samples
- •Picture lines
- •Choice of SAL and SPW parameters
- •Video levels
- •Setup (pedestal)
- •BT.601 to computing
- •Enhancement
- •Median filtering
- •Coring
- •Chroma transition improvement (CTI)
- •Mixing and keying
- •Field rate
- •Line rate
- •Sound subcarrier
- •Addition of composite colour
- •NTSC colour subcarrier
- •576i PAL colour subcarrier
- •4fSC sampling
- •Common sampling rate
- •Numerology of HD scanning
- •Audio rates
- •33. Timecode
- •Introduction
- •Dropframe timecode
- •Editing
- •Linear timecode (LTC)
- •Vertical interval timecode (VITC)
- •Timecode structure
- •Further reading
- •34. 2-3 pulldown
- •2-3-3-2 pulldown
- •Conversion of film to different frame rates
- •Native 24 Hz coding
- •Conversion to other rates
- •Spatial domain
- •Vertical-temporal domain
- •Motion adaptivity
- •Further reading
- •36. Colourbars
- •SD colourbars
- •SD colourbar notation
- •Pluge element
- •Composite decoder adjustment using colourbars
- •-I, +Q, and Pluge elements in SD colourbars
- •HD colourbars
- •References
- •38. SDI and HD-SDI interfaces
- •Component digital SD interface (BT.601)
- •Serial digital interface (SDI)
- •Component digital HD-SDI
- •SDI and HD-SDI sync, TRS, and ancillary data
- •Analog sync and digital/analog timing relationships
- •Ancillary data
- •SDI coding
- •HD-SDI coding
- •Interfaces for compressed video
- •SDTI
- •Switching and mixing
- •Timing in digital facilities
- •Summary of digital interfaces
- •39. 480i component video
- •Frame rate
- •Interlace
- •Line sync
- •Field/frame sync
- •R’G’B’ EOCF and primaries
- •Luma (Y’)
- •Picture center, aspect ratio, and blanking
- •Halfline blanking
- •Component digital 4:2:2 interface
- •Component analog R’G’B’ interface
- •Component analog Y’PBPR interface, EBU N10
- •Component analog Y’PBPR interface, industry standard
- •40. 576i component video
- •Frame rate
- •Interlace
- •Line sync
- •Analog field/frame sync
- •R’G’B’ EOCF and primaries
- •Luma (Y’)
- •Picture center, aspect ratio, and blanking
- •Component digital 4:2:2 interface
- •Component analog 576i interface
- •Scanning
- •Analog sync
- •Picture center, aspect ratio, and blanking
- •R’G’B’ EOCF and primaries
- •Luma (Y’)
- •Component digital 4:2:2 interface
- •Scanning
- •Analog sync
- •Picture center, aspect ratio, and blanking
- •R’G’B’ EOCF and primaries
- •Luma (Y’)
- •Component digital 4:2:2 interface
- •43. HD videotape
- •HDCAM (D-11)
- •DVCPRO HD (D-12)
- •HDCAM SR (D-16)
- •JPEG blocks and MCUs
- •JPEG block diagram
- •Level shifting
- •Discrete cosine transform (DCT)
- •JPEG encoding example
- •JPEG decoding
- •Compression ratio control
- •JPEG/JFIF
- •Motion-JPEG (M-JPEG)
- •Further reading
- •46. DV compression
- •DV chroma subsampling
- •DV frame/field modes
- •Picture-in-shuttle in DV
- •DV overflow scheme
- •DV quantization
- •DV digital interface (DIF)
- •Consumer DV recording
- •Professional DV variants
- •47. MPEG-2 video compression
- •MPEG-2 profiles and levels
- •Picture structure
- •Frame rate and 2-3 pulldown in MPEG
- •Luma and chroma sampling structures
- •Macroblocks
- •Picture coding types – I, P, B
- •Prediction
- •Motion vectors (MVs)
- •Coding of a block
- •Frame and field DCT types
- •Zigzag and VLE
- •Refresh
- •Motion estimation
- •Rate control and buffer management
- •Bitstream syntax
- •Transport
- •Further reading
- •48. H.264 video compression
- •Algorithmic features, profiles, and levels
- •Baseline and extended profiles
- •High profiles
- •Hierarchy
- •Multiple reference pictures
- •Slices
- •Spatial intra prediction
- •Flexible motion compensation
- •Quarter-pel motion-compensated interpolation
- •Weighting and offsetting of MC prediction
- •16-bit integer transform
- •Quantizer
- •Variable-length coding
- •Context adaptivity
- •CABAC
- •Deblocking filter
- •Buffer control
- •Scalable video coding (SVC)
- •Multiview video coding (MVC)
- •AVC-Intra
- •Further reading
- •49. VP8 compression
- •Algorithmic features
- •Further reading
- •Elementary stream (ES)
- •Packetized elementary stream (PES)
- •MPEG-2 program stream
- •MPEG-2 transport stream
- •System clock
- •Further reading
- •Japan
- •United States
- •ATSC modulation
- •Europe
- •Further reading
- •Appendices
- •Cement vs. concrete
- •True CIE luminance
- •The misinterpretation of luminance
- •The enshrining of luma
- •Colour difference scale factors
- •Conclusion: A plea
- •Radiometry
- •Photometry
- •Light level examples
- •Image science
- •Units
- •Further reading
- •Glossary
- •Index
- •About the author
SDI and HD-SDI interfaces |
38 |
Composite 4fSC digital interfaces are obsolete. For details about them, consult the first edition of this book.
This chapter describes digital interfaces for uncompressed and compressed SD and HD. Tables 38.1 and 38.2 summarize video signal levels.
Interface |
Ref. |
Ref. |
||
black |
white |
|||
|
|
|
|
|
Abstract signal, mathematical |
0 |
|
1 |
|
Abstract signal, units (“IRE”) |
0 |
|
100 |
|
Analog NTSC [mV] |
53 |
4/ |
714 |
2/ |
|
|
7 |
|
7 |
Analog NTSC-J [mV] |
0 |
|
714 |
2/ |
|
|
|
|
7 |
Analog PAL [mV] |
0 |
|
700 |
|
Analog VGA [mV], zero setup |
0 |
4/ |
700 |
2/ |
7.5-percent setup |
53 |
714 |
||
|
|
7 |
|
7 |
Table 38.1 Analog video levels in several interfaces are summarized.
|
-Peak |
-Peak |
Ref. |
Ref. |
+Peak |
+Peak |
Interface |
non-SDI |
SDI |
SDI |
non-SDI |
||
black |
black |
black |
white |
white |
white |
|
|
|
|
|
|
|
|
8-bit computing (“IT,” e.g., sRGB) |
|
|
0 |
255 |
|
|
Studio video interface, 8-bit (“CE”) |
0 |
1 |
16 |
235 |
254 |
255 |
10-bit |
0 |
4 |
64 |
940 |
1019 |
1023 |
Studio video processing, 8-bit |
-16 |
-15 |
0 |
219 |
254 |
255 |
10-bit |
-64 |
-60 |
0 |
876 |
955 |
959 |
Digital cinema interface, 12-bit |
0 |
16a |
0 |
3960b |
3960 |
3960 |
Table 38.2 Digital video levels in several interfaces are summarized.
a True reference black in digital cinema cannot be conveyed across an HD-SDI interface: The minimum interface code yields black tristimulus value of (16/3960)2.6, or about 0.000 000 6, negligibly different from ideal black.
bPeak white code is indicated for digital cinema as 3960: This is for the coded luminance (Y’) channel. The other two channels (X’ and Z’) have peak values 3794 and 3890 respectively.
429
ITU-R Rec. BT.601-5, Studio encoding parameters of digital television for standard 4:3 and widescreen 16:9 aspect ratios.
BT.601 originated with 8-bit components, anticipating 10 bits.
Recall from page 124 that in 4:2:2 BT.601, CB and CR are cosited – each is centered on the same location as Y’j, where j is even; chroma samples are absent when j is odd.
Component digital SD interface (BT.601)
ITU-R Rec. BT.601, adopted in 1984, specifies abstract coding parameters (including 4:2:2 chroma subsampling) for 480i29.97 and 576i25 SD. Luma is sampled at 13.5 MHz; CB and CR colour difference components are horizontally subsampled by a factor of 2:1 with respect to luma – that is, sampled at 6.75 MHz each. Samples are multiplexed in the sequence {CB, Y0’, CR, Y1’}. Sync information and optional ancillary data is multiplexed; 10-bit words at 27 MW/s are then serialized for a total bit rate of 270 Mb/s. The external interface is called the serial digital interface (SDI); it uses coaxial cable and BNC connectors.
Sampling at 13.5 MHz produces a whole number of samples per total line (STL) in 480i systems (with 858 STL) and 576i systems (with 864 STL). Both 480i and 576i have 720 active luma samples per line (SAL). In uncompressed, 8-bit BT.601 video, the active samples consume about 20 MB/s.
The notation 4:2:2 originated as a reference to the chroma subsampling scheme that I outlined on
page 124. During the 1980s, 4:2:2 denoted a specific SD component digital video interface standard incorporating 4:2:2 chroma subsampling. In the 1990s, the 4:2:2 chroma subsampling format was adopted for HD; as a result, the notation 4:2:2 came to be independent of image size.
The notations BT.601 and BT.656 have fallen into disuse in studio video. However, desktop video hardware designers often use “Rec. 601” or “BT.601” to denote a parallel interface having separate wires for vertical and horizontal sync signalling, and “Rec. 656” or “BT.656” to denote a parallel interface wherein vertical and horizontal sync are represented by embedded TRS codes.
Figure 38.1 at the top of the facing page shows the luma (or R’, G’, or B’) waveform of a single scan line of 480i component video. The time axis shows sample counts at the BT.601 rate of 13.5 MHz; divide the sample number by 13.5 to derive time in microseconds. Amplitude is shown in millivolts (according to EBU Tech. N10 levels), and in 8-bit BT.601 digital interface code values.
430 |
DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
Voltage, mV |
Code, 8-bit |
|
||||
712 SPW |
||||||
700 |
|
235 |
|
|
||
|
|
|
|
|||
|
|
|||||
350
016
–300 |
720 SAL |
|
0H 64 Sample clocks, at 13.5 MHz |
858 STL |
Figure 38.1 Scan-line waveform for 480i29.97, 4:2:2 component luma. EBU Tech. N10 analog levels are shown; however, these levels are rarely used in 480i. In analog video, sync is blacker-than- black, at -300 mV. (In digital video, sync is not coded as a signal level.) This sketch shows 8-bit interface levels (in bold); black is at code 16 and white is at code 235. The 720 active samples contain picture information; the remaining 138 sample intervals of the 858 comprise horizontal blanking.
Digital video interfaces convey active video framed in timing reference signal (TRS) sequences including start of active video (SAV) and end of active video (EAV). Ancillary data (ANC) and digitized ancillary signals are permitted in regions not occupied by active video. Figure 38.2 below shows the raster diagram of Chapter 8, augmented with EAV, SAV, and the HANC and VANC regions. Details will be presented in SDI and HD-SDI sync, TRS, and ancillary data, on page 433.
Figure 38.2 The BT.656 component digital interface uses EAV to signal the start of each horizontal blanking 0V interval, and SAV to signal
the start of active video. Between EAV and SAV, ancillary data (HANC) can be carried. In a nonpicture line, the region between SAV and EAV can carry ancillary data (VANC). Digitized ancillary signals may be carried in lines other than those that convey either VANC or analog sync.
|
0H |
EAV |
SAV |
HANC
VANC Digitized ancillary
signals
CHAPTER 38 |
SDI AND HD-SDI INTERFACES |
431 |
SMPTE 259M, 10-Bit 4:2:2 Component and 4fSC Composite Digital Signals – Serial Digital Interface.
The 23.976 Hz, 29.97 Hz, and 59.94 Hz frame rates are associated with a sampling rate of:
74.25 ≈74.176 Mpx/s
1.001
The corresponding HD-SDI serial interface bit rate is:
1.485 ≈1.483Gb/s
1.001
Serial digital interface (SDI)
Serial digital interface (SDI) refers to a family of interfaces standardized by SMPTE. The BT.601 or 4fSC data stream is serialized, then subjected to a scrambling technique. SMPTE ST 259 standardizes several interfaces, denoted by letters A through D as follows:
•Composite 4fSC NTSC video, about 143 Mb/s
•Composite 4fSC PAL video, about 177 Mb/s
•BT.601 4:2:2 component video, 270 Mb/s (This interface is standardized in BT.656.)
•BT.601 4:2:2 component video sampled at 18 MHz to achieve 16:9 aspect ratio, 360 Mb/s
All but scheme C are now obsolete.
SDI is standardized for electrical transmission through coaxial cable, and for transmission through optical fiber. The SDI electrical interface uses ECL levels, 75 Ω impedance, BNC connectors, and coaxial cable. Electrical and mechanical parameters are specified in SMPTE standards and in BT.656; see SDI coding on page 439. Fiber-optic interfaces for digital SD, specified in SMPTE 297M, are straightforward adaptations of the serial versions of BT.656.
Component digital HD-SDI
The basic coding parameters of HD systems are standardized in BT.709. Various scanning systems are detailed in several SMPTE standards referenced in Table 15.2, on page 145.
Component SD, composite 4fSC NTSC, and composite 4fSC PAL all have different sample rates and different serial interface bit rates. In HD, a uniform sample rate of 74.25 MHz is adopted (modified by the ratio 1000⁄1001 in applications where compatibility with 59.94 Hz frame rate is required). A serial interface bit rate of 20 times the sampling rate is used. Variations of the same standard accommodate mainstream 1080i30, 1080p24, and 720p60 scanning; 1080p30; and the
obsolete 1035i30 system. The integer picture rates 24, 30, and 60 can be modified by the fraction 1000⁄1001, giving rates of 23.976 Hz, 29.97 Hz, and 59.94 Hz.
The SDI interface at 270 Mb/s has been adapted to HD by scaling the bit rate by a factor of 5.5, yielding a fixed bit rate of 1.485 Gb/s. The sampling rate and serial bit rate for 23.976 Hz, 29.97 Hz, and 59.94 Hz
432 |
DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
