- •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
Light level examples
The following table gives examples of light levels that are encountered in everyday life.
Situation |
Illuminance [lx] |
Luminance of 90% |
Luminance of 18% |
diffuse reflector [nt] |
diffuse reflector [nt] |
||
|
|
|
|
Clear, bright sunlight at noon |
100 000 |
30 000 |
6 000 |
|
|
|
|
Typical daylight |
10 000 |
3 000 |
600 |
|
|
|
|
Overcast daylight sky; TV studio |
1 000 |
300 |
60 |
|
|
|
|
Very dark overcast sky; living room |
100 |
30 |
6 |
|
|
|
|
Twilight; candle at 33 cm |
10 |
3 |
0.6 |
|
|
|
|
Deep twilight; candle at 1 m |
1 |
0.3 |
0.06 |
|
|
|
|
Full moon overhead, clear sky |
0.1 |
0.03 |
0.006 |
|
|
|
|
Half moon overhead, clear sky |
0.01 |
0.003 |
0.000 6 |
|
|
|
|
Starlight + airglow |
0.002 |
|
|
|
|
|
|
Total starlight, overcast night |
0.000 1 |
|
|
|
|
|
|
Sirius (mv = -1.47) |
0.000 01 |
|
|
Vega (mv = 0) |
0.000 003 |
|
|
Table B.2 Light level examples
Michael Brill and Bob Hunt agree that R, G, and B tristimulus values have no units. See Hunt, R.W.G. (1997),“The heights of the CIE colour-matching functions,” in Color Research and Application, 22 (5): 337 (Oct.).
Image science
Absolute luminance has units of cd·m-2, colloquially called nits [nt]. In image science, luminance is usually normalized to a range of 100 (or as I prefer, 1) with respect to a specified or implied white reference, and expressed without units. So normalized, its symbol is Y. The term luminance is often used as shorthand to refer to this pure quantity; however, it is properly called relative luminance. The term luminance factor should be avoided for this quantity, since the latter term refers to a property of a surface or material: Luminance factor is the ratio of luminance of a surface, under specified conditions of light source, incidence, and observation, to the luminance of a perfectly diffusing (“Lambertian”) surface, under the same conditions.
Relative luminance (Y) is one of three distinguished tristimulus values standardized by the CIE; the other two distinguished tristimulus values are X and Z. Other tristimulus values such as [R, G, B] are related to CIE
[X, Y, Z] values by a 3× 3 linear matrix product. Relative luminance (Y) and other tristimulus values such as X, Z, R, G, or B are pure numbers.
578 |
DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
It was inconsistent mixture of US customary (Imperial!) units and SI units that led to the 1998 crash of NASA’s Mars Climate Orbiter. American cinema experts often express luminance in footlamberts; why then do they refer to cinema film as
35 mm instead of 13/8-inch?
106 |
= |
1 |
≈ 10.764 |
|
0.30482 |
||
25.42 122 |
|
||
Units
Many bizarre units have been used for illuminance and luminance. I urge you to abandon these, and to adopt the standard SI units. Radiometry and photometry are sufficiently difficult without having to deal with
a plethora of arcane units. If radiometry and photometry are new to you, I believe that your understanding will come more rapidly if you ignore the traditional units – which were deprecated by the scientific community 40 years ago – and adopt the SI units. If you are
a practitioner who learned the science and the craft using the traditional Imperial units, please don't stubbornly stick to them: According to the CIA World Factbook, only three countries – Burma, Liberia, and the United States – have not adopted International System of Units (SI, or metric system) as their official system of weights and measures. I urge you to use SI units. Simply learn to multiply footlamberts by 3.4 to get candelas per meter squared. A movie screen has a typical white luminance of about 14 fL; call this 48 nits. A studio reference display in North America typically has a reference white luminance of about 100 nits (about 33 fL).
To convert illuminance into lux [lx], use Table B.3:
To obtain lm·m–2 [lx], |
by |
numerically |
multiply unit below |
||
|
|
|
lm·ft–2, footcandle, fc |
10.764 |
10.764 |
metercandle |
1 |
1 |
|
|
|
Table B.3 Conversion of illuminance into lux
To convert luminance into candelas per meter squared, use Table B.4:
To obtain cd·m–2 [nit, nt], |
by |
numerically |
multiply unit below |
||
|
|
|
lambert, L |
10 000 ⁄π |
3183.1 |
millilambert, mL |
10 ⁄π |
3.1831 |
cd·ft–2 |
10.764 |
10.764 |
footlambert, fL |
10.764⁄π |
3.4263 |
Table B.4 Conversion of luminance into cd·m–2
APPENDIX B |
INTRODUCTION TO RADIOMETRY AND PHOTOMETRY |
579 |
Further reading
Chapter 1 of Ian Ashdown’s book presents a very approachable introduction to measuring light. (The remainder of the book details the computer graphics technique called radiosity.) A version of that chapter is available on the web.
D. Allan Roberts offers a terse summary of the basic quantities of radiometry and photometry, and describes the confusing units. (It is worth seeking out the 1994 edition; sadly, the description of radiometry in the 2006 edition of this handbook is not nearly as lucid.)
Ashdown, Ian (1994), Radiosity: A Programmer’s Perspective
(New York: Wiley).
Ashdown, Ian (2002), Photometry and Radiometry – A Tour Guide for Computer Graphics Enthusiasts,
<http://www.helios32.com/Measuring%20Light.pdf>.
Roberts, D. Allan (1994), “A Guide to Speaking the Language of Radiometry and Photometry,” in Photonics Design and Applications Handbook, 1994 edition, vol. 3, pages H-70 to H-73 (Pittsfield, Mass.: Laurin Publications).
