- •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
Line number, |
Line number, |
Line number, |
Contents, |
Contents, |
first field |
second field |
|||
progressive |
(F=0) |
(F=1) |
V left half |
right half |
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563 |
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|
1 |
1 |
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|
564 |
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2 |
2 |
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|
565 |
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3 |
3 |
|
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566 |
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4 |
4 |
|
|
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|
|
567 |
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5 |
5 |
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568 |
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6 |
6 |
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7–20 |
|
vertical interval video |
|
7–41 |
(14 lines) |
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||
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||
(35 lines) |
|
569–583 |
vertical interval video |
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|
(15 lines) |
||
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|
21–560 |
|
lines) |
picture |
|
(540 lines) |
|
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|
|
|
|
42–1121 (1080 lines)
584–1123 (540 lines)
V=0 (1080
picture
1122–1125 |
561–562 |
1124–1125 |
(4 lines) |
(2 lines) |
(2 lines) |
|
|
|
Table 42.2 1080i and 1080p line assignment
start of line 561. In the second field, that EAV marks the start of line 1124; line 1 of the next frame starts on the second following EAV.
Analog sync
At an analog interface, each line commences with a trilevel sync pulse. The zero-crossing of trilevel sync defines the line sync datum 0H, to which horizontal events are referenced. Digital samples and analog timing are related such that the first (zeroth) sample of
CHAPTER 42 |
1920 × 1080 HD |
475 |
0H precedes the first word of SAV by 192 clocks.
0H follows the first word of EAV by STL -1920-192 clocks.
active video follows the 0H instant by 192 reference clock intervals.
Trilevel sync comprises a negative portion asserted to -300±6 mV during the 44 reference clock intervals preceding 0H, and a positive portion asserted to +300±6 mV during the 44 reference clock intervals after 0H. The risetime of each transition is 4±1.5 reference clock intervals.
Details of horizontal timing are shown in Figure 42.1 opposite.
Vertical sync in the analog domain is signaled by broad pulses, whose structure differs between progressive and interlaced systems.
A progressive system has five broad pulses per frame, one each on lines 1 through 5. Each broad pulse is asserted to -300±6 mV, 132 reference clock intervals after 0H, and deasserted 2112 reference clock intervals after 0H. (Deassertion coincides with the end of active video – that is, with the right-hand edge of the production aperture.) The risetime of each transition is
4±1.5 reference clock intervals. Line 1 is defined by the first broad pulse of a frame – that is, by a line with
a broad pulse preceded by a line without one. Line 6 has a second trilevel pulse whose zero-crossing is STL /2 reference clock intervals after 0H. This pulse is reminiscent of an equalization pulse in analog SD.
In an interlaced system, several lines in the vertical interval have a second trilevel sync pulse whose zerocrossing is at STL /2 reference clock intervals after 0H. An interlaced system has ten broad pulses per field, in the arrangement indicated in Table 42.2. Each broad pulse is asserted to -300±6 mV, 132 reference clock intervals after the zero-crossing of the immediately preceding trilevel sync, and is deasserted 880 reference clock intervals later. The risetime at each transition is 4±1.5 reference clock intervals. Line 1 can be decoded as the first broad pulse in a left-hand halfline – that is, by detecting a normal line (with no broad pulse and no mid-line trilevel sync) followed by a broad pulse immediately after 0H. Each broad pulse is preceded by a trilevel pulse whose zero-crossing is either at 0H or delayed STL /2 reference clock intervals from 0H.
476 |
DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
+300
Sync
0
–300
0H
+350
+300
PB, PR
0
–300
–350
+700
+350 mV +300
132(d)
BLANKING
BROAD PULSE
1012 |
1056 |
1100 |
1144 |
1232 |
Y’,R’,G’,B’
0
–300
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–44 |
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44 |
192 |
||
0H |
|||||
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Reference clocks (at 74.25 MHz) |
|||
2112
2112 |
2200 |
Figure 42.1 1080i30 analog line details. Time intervals are shown as intervals of a reference clock at 74.25 MHz, with reference clock zero defined at 0H. To obtain sample numbers relative to the zeroth sample of active video, add SAL +88 (modulo STL) to these counts.
CHAPTER 42 |
1920 × 1080 HD |
477 |
Vertical interval video lines do not convey picture information. They may convey ancillary or other signals either related or unrelated to the picture.
Analog signal timing is defined by the digital standard; the digital sampling frequency defines reference time intervals used to define analog timing.
Figure 42.2 shows details of the vertical sync structure; this waveform diagram is the analog of Table 42.2, on page 475.
Picture center, aspect ratio, and blanking
The center of the picture is located midway between the central two of the 1920 active samples (between samples 959 and 960), and midway between the central two 1080 picture lines (between lines 581 and 582 in a progressive system, and between lines 290 and 853 in an interlaced system).
The aspect ratio is defined to be 16:9 with respect to the production aperture of 1920× 1080.
In Transition samples, on page 378, I mentioned that it is necessary to avoid, at the start of a line, an instantaneous transition from blanking to picture information. A clean aperture pixel array 1888 samples wide and 1062 lines high, centered on the production aperture, should remain subjectively uncontaminated by edge transients.
R’G’B’ EOCF and primaries
Picture information is referenced to linear-light primary red, green, and blue (RGB) tristimulus values, represented in abstract terms in the range 0 (reference black) to +1 (reference white).
Three nonlinear primary components R’, G’, and B’ are computed such that the intended image appearance is obtained on the reference display in the reference viewing conditions; see Reference display and viewing conditions, on page 427.
In the default power-up state of a camera, the nonlinear primary components are computed according to the opto-electronic conversion function of BT.709 OECF, described on page 320; this process is loosely called gamma correction.
The colorimetric properties of the display primaries are supposed to conform to BT.709 primaries described
478 |
DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
42 CHAPTER |
2.42 Figure |
HD 1080 × 1920 |
interval blanking vertical p1080 and i1080 |
0V
PROGRESSIVE SYSTEM, FRAME
45 H
41 H
5 H
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top |
bottom |
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image |
image |
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row |
row |
(bottom) |
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1121 1122 ...1125 1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 ... |
41 |
42 |
43 ... 1121 1122 ...1125 |
INTERLACED SYSTEM, FIRST FIELD/SEGMENT
22 H
20 H
5 H
top image row
(bottom)
1123 |
1124 |
1125 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 ... |
20 |
21 |
22 ... |
560 |
561 |
562 |
INTERLACED SYSTEM, SECOND FIELD/SEGMENT
23 H
20 1⁄ 2 H
6 H
5 H
bottom image row
0V 
560 |
561 |
562 |
563 |
564 |
565 |
566 |
567 |
568 |
569 |
570 ... |
582 |
583 |
584 |
585 ... |
1123 |
1124 |
1125 |
479
